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THEORY  OF  MUSIC: 


BEING  A 


PRACTICAL  GUIDE  TO  THE  STUDY 


OF 


Thoroiigh-Bass,  Harmony,  Musical  Composition 

and  Form, 

FOR  THOSE  WHO  WISH  TO  ACQUIRE  A  KNOWLEDGE 

DEC  I  31946 

FUNDAMENTAL  PRINCIPLES  OF  THE  SCIENCE, 

IN  A   SHOUT  TIME,  EITHER  WITH  OK 
WITHOUT  THE  AID  OF  A  TEACHER: 

Including  730  questions   which  are   illustrated 
by  582  examples,  selected  from 

the  works  of  the 
BEST  WRITERS  ON  MUSICAL  SCIENCE. 


BY 

H.  R.  PALMER. 


PUBLISHED  BY 

THE   JOHN    CHURCH    CO., 

Cincinnati.  New  York.  Chicago.  Leipsic.         London 

"•-m-riu-Iil  ^K'MIV.,  i.vir.  U.  Pai.mek.) 


Music  [Sbrm 


?\%f 


PREFACE. 


About  ten  years  ago  the  author  published  "  Elements  of  Musical  composition,'' 
which  was  largely  made  up  from  the  works  of  Dr.  Crotch,  an  English  musician  of  the 
last  century,  and  while  it  contained  many  good  things,  there  was  much  in  it  which 
did  not  comport  with  our  present  ideas  upon  the  subjects  treated.  When  the  pre- 
sent book  was  first  projected,  it  was  intended  only  to  revise  that  work,  but,  ;ipuu 
maturer  reflection,  it  seemed  to  become  necessary  to  make  an  entire  change,  and 
the  following  pages  are  the  result. 

The  volume  Is  divided  into  two  Bwoks,  tne  first  of  which  is  Catechetical,  and  the 
second  Illustrative.  Each  of  itiese  riooks  is  further  divided  into  four  Parts,  namely 
Elementary,  Thorough  Base,  ftarmony  and  Composition,  and  Form.  In  the  Ele- 
mentary part  of  Book  I,  wiU  be  found  a  concise  and  logical  statement  of  the  prin- 
ciples of  Musical  Notation,  and  the  same  are  illustrated  in  the  corresponding  Part 
of  Book  II.  Part  Second  of  the  first  Book  is  devoted  to  the  subject  of  Thorough 
Base,  and  treats  of  the  formation  of  chords,  their  relations,  inversions,  and  the 
tlgures  by  which  they  are  expressed.  These  are  also  illustrated  in  the  correspond- 
ing Part  of  Book  II.  Tne  tliird  Part  of  Book  I,  entitled  Harmony  and  Composition, 
gives  a  clear  idea  of  the  progression  of  chords  and  all  the  entangling  principles 
wliich  such  progression  naturally  involves.  The  corresponding  Part  of  Book  II, 
not  only  illustrates  these  principles,  and  continually  refers  back  to  thom,  but  con- 
tains short  statements  concerning  them,  which  renders  this  Part  of  the  work  a 
complete  manual  of  Harmony  in  itself.  Part  Four  of  both  Books  is  devoted  to  the 
sut)ject  of  Form,  a  department  of  the  science  of  music  which  is  little  understood 
by  musicians  generally.  The  Author  has  endeavored  to  take  the  student  by  easy 
steps,  from  the  first  principles  of  vocal  Forms  through  the  many  grades  up  to  the 
highest  Forms  of  instrumentation;  and  lest  vocal  students  should  feel  that  this 
portion  of  the  work  is  not  for  them,  we  would  remark  that  it  is  only  by  studying 
the  liigtier  Art-Forms,  that  we  obtain  a  glimpse  of  the  wonderful  attainments  o( 
;tio  liuman  mind,  from  a  musical  stand-point,  and  that  it  is  only  by  gaining  some 
knowledge  of  the  best  that  we  are  enabled  to  form  correct  opinions.  Most  people 
stand  at  a  great  distance  from  such  geniuses  as  Beethoven,  Haydn,  Mozart.  Men- 
dlessolin,  and  others  who  are  acknowledged  to  be  the  world's  great  master- 
minds, and  admire  them  in  a  hazy,  uninteligent  sort  of  way;  while  some  go  inro 
rapturos.  and  talk  learned  nonsense  al)out  tliem,  thus  seeking  to  hide  their  I'/rm- 
rance.     It   \h  oroposed,  in  this  department  of  the  work  to  assist  students  in 


PREFACE.  o 

rming  a  more  intimate  acc,!iaiutance  with  some  of  the  most  sublime  writings  ol 
H  -se  wonder-workers,  ami  to  place  in  their  hamls  a  key  with  which  they  will  be 
enabled  to  penetrate  into  the  lloiij  »/ Holies,  the  very  inner  Samtuary  of  these 
High-Priests  of  Song,  these  great  Tone-magicians. 

In  these  days  most  of  the  works  of  the  Ma.sters  are  arranged  for  the  piano-forte, 
and,  in  nearly  every  town  will  be  found  some  one  who  kas  skiU  enough  to  be 
able,  at  least,  to  trace  out  tUe  ideas  wliich  arp  here  laid  down;  and  we  would  ad- 
vise students,  after  studying  this  book,  if  not  able  to  play  themselves,  to  become 
acquainted  with  some  one  who  can,  and  who  will  be  glad  to  divide  with  them  the 
benefits  which  may  be  derived  from  half-hours  of  mutual  conversation  upon  An 
Forms. 

The  writer  would  suggest  to  teachers  of  the  Piano,  that  the  advancement  of 
their  pupils  would  be  much  more  satisfactory  to  them,  if  each  was  required  to 
commit  to  memory  a  certain  number  of  tliese  questions  and  answers,  and  recite 
them  at  each  lesson. 

The  thanks  of  the  Author  are  due  to  the  friends  who  have  so  materially  lightened 
his  labors  by  their  encourageinent  and  .suggestions,  and  whose  letters  of  commen- 
dation are  printed  in  connection  with  this  preface.  To  Mr.  W.  S.  B.  Mathews,  he 
ts  especially  indebted  for  valuable  suggestions  made  in  regard  to  the  illustrations 
of  the  higher  Art-Forms. 

H.  R.  Palmer. 
New  York,  June  Ibth,  1876. 


OPINIONS  OF  PROMINENT  MUSICIANS. 


From  Mr.  W.  S.  B.  Mathew.«,  Organist  at  the  Centenary  M.  E.  Church. 

Pbof.  Palmer, 
Dear  Sik-.— Allow  me  to  congratulate  you  on  your  admirable  work  on  Mu- 
Hcal'Theory,  which  1  have  examined  in  MSS.  1  take  pleasure  iu  complimenting 
you  on  the  industry  with  which  you  have  cjllecled  so  great  a  mass  of  intormation, 
much  of  which  was  not  easily  accessible  before,  and  the  gratifying  success  that 
has  crowned  your  effort  to  express  it  in  clear  and  concise  language.  It  covers  a 
ground  previously  uuoccniiied.  am!  dofs  it  so  well  that  1  am  very  sure  It  will  re- 
ceive a  warm  welcome  liom  the  musical  public,  ami  do  a  great  deal  to  increase 
musical  iuteligence  in  this  country. 

Such  works  lay  the  foundation  for  a  broader  outlook  in  the  alter  coming  genera- 
tion. You  and  1  know  how  gladly  we  would  have  devoured  such  a  book  twenty 
vears  ago.  and  bow.  like  good  old  Simeon,  we  came  most  uncommonly  near  d.\ing 
without  the  sight. 

1  am  yours  tnily, 

Chicago.  Feb.  letli,  1S"6.  '  W.  S.  B  Mathews. 


4  OPINIONS  OF  PROMINENT  MUSICIANS. 

From  the  Eminent  Pianist  and  Teacher,  ^h:  William  Mason,  Doctor  of  Music 

Mr.  H.  R.  Palmer, 

Dear  Sir:— The  examination  of  your  book  lias  given  me  mucli  plea.sure, 
and  its  simplicity  seems  to  me  one  of  its  chief  recommendations.  It  is  progressive, 
and  so  clear,  concise  and  logical  in  its  definitions  as  to  be  easily  and  readily  un- 
derstood, and  I  shall  recommend  it  to  my  pupils  and  others  as  a  book  from  wliici; 
they  can  obtain  the  most  useful  information  concerning  the  subjects  of  which  il 
treats,  with  the  least  effort  and  in  the  easiest  way.  It  appears  to  me  that  you 
have  especially  succeeded  in  presenting  the  matter  intelligibly,  and  have  happily 
avoided  the  befogged  and  complicated  manner  characteristic  of  most  works  ou 
the  same  subject. 

Yours,  very  truly, 

Orange,  N.  J  .,  June  cth.  187G.  William  Mason. 


From  Mr.  Dudley  Buck,  the  renowned  Organist  and  Coviposer. 

H.  R.  PALMfIR, 

Dear  Sir:— I  was  very  favorably  impressed  wiUt  the  design  and  purpose 
of  your  new  book.  My  examination  of  the  advance  sheets  was  necessarily  super- 
ficial, owing  to  the  short  time  aflorded  me  for  the  purpose.  Of  this,  at  least,  I  am 
certain,  that  the  work  will  prove  of  decided  value  to  ali  w'ao  maSe  use  of  it. 

Very  truly  yours, 
Nbv  York,  May  23d,  1876.  Dudley  Buck. 


From  Mu   L.  O.  Emerson,  Director  and  Composer. 

Friend  Palmer, 

I  have  examined  your  new  work  on  harmony,  and  must  say  that  I  am  ex- 
ceedingly well  pleased  with  it.  It  will  meet  a  want  which  has  never  before  been 
met.  It  must  prove  an  invaluable  aid  in  the  study  of  Harmony  and  Musical  Foi'm, 
and  should  be  in  the  hands  of  every  musical  person. 

I  am,  yours,  truly 
Boston,  Aug.  15th,  1875.  L.  O-  Emebsok. 


From  Mk.  W.  Luddkn,  Teacher  of  Vocal  Ctdliire,  Author,  eft. 

Mr.  II.  R.  Palmer, 

Dear  Sir:— I  have  examined  the  manuscript  copy  of  your  new  work  en- 
tilled  Theory  of  Music.''  and  must  express  myself  as  delighted,  both  with  its 
general  structure  and  with  the  clear  ami  concise  manner  in  which  you  have 
Ircattul  rhe  several  dcpartmenls  into  which  the  work  is  diviilcd. 

■\i>iir  descriplimi  of  the  H/iarjj  ;^i.rt/i  with  its  classiiiciiiioiis.  giving  the  origin 
and  derivation  of  each  is  the  most  satisfactory  iiculiiicnt  Hint  I  have  seen,  and 
is  calculated  to  throw  light  on  what  has  usually  been  regarded  as  a  somewhat 
oliscun-  point  in  ninslcal  composition;  wli 'e  Part  IV  develops.  In  a  peculiar]) 
liapjiy  manner.  1  he  subject  of  MnxU-til  Fori^  which  is  too  little  known  and  recog- 
ulzi'd  by  our  American  musicians. 

Ill  my  opinion  this  work  will  prove  an  invaluable  aid  to  both  teacher  and  pupU. 

Very  truly  your* 
Savannah,  Ua.,  March  8th,  1876,  Mf.  Ludden. 


OPINIONS  OF  PROMINENI    MUSICIANS.  K 

o 

From  Mr.  F.  W.  Root,  Kditor  of  Song  Mensmger,  Teacher  of  Voice.  Culture, 

Author,  etc. 

H.  R.  Palmer, 

Deak  Sir: — I  have  taken  great  pleasure  in  looking  thi'oiigh  tlie  MSS.  of 
your  new  book,  glancing  at  the  entire  plan  ot  the  work,  ant'  examining  with  some 
minuteness  those  portions  of  it  wliich  treat  of  Harmony  and  Form.  The  tliousands 
of  .students  ot  musical  tlieory  who  delve  for  knowledge,  far  from  the  eenter.s  oi 
artistic  culture,  are  but  poorly  provided  with  means  for  its  acquisition.  Our  Amer- 
ican elementary  musical  text  l)ooks  have  been  brouglit  to  great  perfection;  but 
such  of  the  works  before  the  public,  as  contain  anything  like  a  complete  theoretical 
course,  seemed  to  me  practicable  only  in  an  atmosphere  of  culture,  under  the 
direction  of  the  best  teachers. 

I  believe  your  book  will  go  far  toward  supplying  the  want  which  exists  in  this 
direction:— Its  simplicity  and  clearness  are  such  that  all  can  understand  it.  even 
;  hose  that  have  not  had  the  advantage  of  especial  culture  and  fine  teaching;  its 
comprehensiveness  is  great,  and  in  its  exposition  of  the  material  and  Form  ol 
composition  it  seems  to  me  practicable  beyond  precedent.  I  doubt  not  that  this 
book  will  add  another  to  the  list  of  remarkable  successes  wliich  have  crowned 
your  career  in  authorship. 

Very  truly  yours, 
Chicago,  Oct.  29th,  1875.  Fkederick  W.  Root. 


From  Mr.  G.  F.  Root,  Doctor  of  Music. 

I  cheerfully  endorse  the  above,  especially  what-is  said  of  the  chapter  on  "  Form." 

Geo.  F.  Root. 


Fi-07)i  Mr  E.  K.  Wihttkmoric.  Teacher  of  Music  in  the  Pithlic  Schools  of 

Chicago,  Organist  dec. 

Prof.  Palmer, 

Dear  Sir: — When  will  your  new  work  on  Harjvony  and  Mnsical  Formhe 
ready?  I  believe  it  will  prove  to  be  a  work  which  every  teacher  of  music  in  the 
country  will  find  invaluable  and  indispensable. 

I  was  more  interested  in  the  pages  you  showed  me.  than  anything  of  the  kimi  I 
have  ever  seen, 

Yours  truly, 
Chicago  June  loth,  1875.  E.  E.  Whittemore. 


From  Mit,  C.  A.  Havens.  Onjani.^t  <tl  ].•<(  Presbi/terian  Church.  Chicago. 

Mr.  H.  R.  Palmer, 

Dear  Sir:— After  having  examined  your  work  on  harmony,  I  am  convin- 
ced that  it  is  just  what  is  needed  by  the  musical  public,  both  professional  a.ij 
amateur.    The  clear  and  logical  ninnner  in  which  you  treat  subjects  will  do  mw. 
to  render  harmony  better  understood  by  students.    This  book  deserves  a  wiiie- 
spread  circulation. 

Yours  truly. 
Chicago,  Sept.  1st,  1875.  .  C.  A.  Hatens. 


opnnoxs  OF  pROMiXEVT  MrsicrAXS. 

r..o,n  MK.    A..O.PH   B.vt:mb.vCH,  Or,a,ust  at  Grace   E,nsco,al   CkurcK, 

Chicago. 

H.  R.  Palmer,  treatise  on  tbe  science  of  Music. 

r-'"  t ;:'  r:>^l°oTe  .Cr/"  ,UeT«  «■  ha,  ever  co»,e  ua.er  „,, 

aofl  aio  liappj  '»  >«.'•  ■'  " ',,':'     „„,„!,  and  labor,  and  will  be  regartefl  Wi  a 

..«  „  a  val.«  .e.. ^o.  'or  .„«P.K^^  ^^^^^^  ^„„„,  ^  ^^^_^^__ 
CHICAGO,  Jan.  etli,  1876. 

Fr,om  MR.  I.  V.  Flagler,  0>-^a««t  ai  Plymouth  Church,  Chicago. 

Mr.  H.  R.  Palmer,  TTormnnv  and  Form.  an(i 

DEAR  Sir:-1  liave  examiaed  your  nex  bool.  on  Hanno^y  an  ^^^ ^^ 

am  glaa  to  say  that  I  consider  it  an;nvalnaWe  work  one  -l^^J Je.       ^^^    ^^^  ^^^ 

amateurs  cannot  f o-^^  ^^^  ^^  ^°:^,;  „e^"  eentSrsn.Ject  treated  ..tu  sue,. 

Musical  Form;  and  ™"^^^''Y'\i\\^'^^^;,\°7be, present  work  will  make  itself  felt  .n 

*^  Yours,  truly,  j  ^.  pj^_^gler. 

CHICAGO,  111.,  Dec.  29th,  1875. 

From  Mr.  O.  Bl.^ckm^^  ^^  ^^^^_^  . .  ^^^  .^^^^  ^^^^^.^  ^.^,^^^^^^. 

Mr.  H.  R.  Palmer,  Tp.,chers  will  alwavs  feel  deeply  indebteo 

dear  SiH-.-The  American  Mu.ic  ^^f  f "'  '"J^rvthinc^  in  such  au  under- 

a  good  work.  Yours,  &c.,  .  o.  Blackman. 

CHICAGO,  Dec.  29th,  1875. 

From  Mr.  Wm.  P.  Sherwin,  Author  and  DirecU>r. 

^"-  '\^:  ^L.-^  l.ave  heen  so  delighted  - --^T^^ ^ Sli'S 
or  ,our  forthcoming  Theory  of  f-^^^ ^^:: ^T^^t^ ^.^  appear.. 

setting  yourself  to  do  so  much  ^"«'\  ^^^ '  ^^'''^l^eeds  of  Amencau  students. 
,,„.,,.  is  so  ->'n'ramy  adapted  to  .neet  the  gene^^^^^^^  ^^.^.  ^^^   ,^_^  ^,^^,^,, 

You  have  sh..wn  remarkable  culinary  skill  in  s  r^P  ng  .  ,,„,,,  t„e 

verbiage  and  tiresome  technicalities,  and  then      O^^^^^J^^     .^^^^^,^,,  i„  the 
truth  is  made  clear  to  any  ordinary  ^l^^^'^^^eLlTreZ.li  comparatively  lit- 

section  upon  ••  ^rm,"  a  -''i-^^^'f 'f  J  ^^t  M  m^^^^^^^^^     y-  ^^^  «"  '^^^^^ 
tie  attention,  ,my  conscience  bearing  me  Mtnes.s^)  o  ^^^  hereafter. 

?^^r;;;?:irirr^v::^ -;  a^"-^^  -rioution  to  our  too 

.canimusicalliterature.  and  am         ^^^^  ^,^^^  ^^,y^  ^^  ^  Sheewin.. 

New  York,  February  18th,  1876. 


PART     FIRST. 


ELEMENTARY. 


1.  What  isSomol 
Sounil  is  any  thing  audible. 

2.  What  is  a  TonEl 

A  tone  is  a  sound  in  which  pitch  is  perceptible. 


What  IS  a  Key? 


A  family  of  tones  bearing  a  certain  fixed  relation  one  to  another. 

4.  How  many  tones  constitute  a  key  ? 
Seven.* 

5.  Wkat  is  the  tonic,  or  Key-tone? 

The  tone  from  which  all  other  tones  are  reckoned;  the  point  Of  repose 
-£.  How  are  the  tones  of  a  key  named  ? 

The  tonic,  or  kej'-tone,  is  named  one  (or  eight),  the  next  tone  above  it 
.'s  Damed  two,  the  next  three,  etc. 

7.  What  siiU.ables  are  sometimes  airplied  to  the  tones  of  a  key  ? 
The  syllables  Do,  Re  Mi,  Fa,  Sol.  La,  Si. 

8.  The  names  of  what  letter,'}  ai%  used  as  the  names  of  the  pitches  of 
tones  ? 

The  names  of  the  first  seven  letters  of  the  alphaljet,  A,  B,  C,  D,  E,  F,  G. 

9.  What  constitutes  the  Diatonic  Scale? 

The  tones  of  a  key  in  successive  order,  fi'om  one  key-tone,  or  tonic,  to 
tlie  next,  inclusive. 

10.  TT7<a<  is  i^Ae  Staff? 

The  stafi"  is  a  character  used  to  represent  the  pitches  of  tones. 

11.  Of  what  does  it  consist  ? 

It  consists,  mainly,  of  five  luirallel  lines  and  the  spaces  whieli  belong  to 
tliem;  and  is  frequently  enlarged  by  means  of  short  added  lines  and 
spaces,  above  and  below.  Each  line  and  space  is  called  a  degree. 

12.  Hoiv  are  tones  represented  as  regards  length  or  duration  ? 
By  characters  called  Notes. 

*  It  may  be  well  to  remark  here,  that  a  key  really  coEslsts  of  all  the  tones  which 
the  ear  cau  detect,  having  a  certain  fixed  relation  to  each  other;  for  example,  all 
poBsible  tones  whose  names  are  C,  D,  E,  F,  G,  A  and  B,  constitute  the  kev  of  C. 


8  THEORY  OF  MUSIC.  [Book  1. 

13.  How  many  different  kinds  of  notes  are  there  in  general  use,  and 
what  are  their  names  ? 

Six.     The  whole  note,  the  half  uote,  the  quarter  note,  the  eighth  note, 
the  sixteenth  note,  and  the  thirty-second  note. 

14.  How  is  the  whole  note  made  ? 
Like  the  letter  O,  elongated. 

15.  How  is  the  half  note  made  ? 
With  an  open  head,  and  a  stem. 

16.  How  is  the  quarter  note  made  ? 
With  a  full  head,  and  a  stem. 

17.  How  is  the  eighth  note  made  * 
With  a  full  head,  a  stem,  and  a  hook. 

18.  Hou'  is  the  sixteenth  note  made  ? 
With  a  full  head,  a  stem,  and  two  hooks. 

19.  Hoio  is  the  thirty-second  note  made  ? 
With  a  full  head,  a  stem,  and  three  hooks. 

20.  What  are  BxR?,'> 

Bars  are  small  lines  drawn  perpendicularly  across  the  stafl. 

21.  What  is  a  Double  Bar  ? 

A  Double  Bar  is  a  broad  bar  drawn  across  the  stafl'. 

22.  What  does  it  generally  denote  ? 

The  beginning  and  ending  of  a  line  of  words. 

23.  What  is  the  Close,  and  what  does  it  signify  ? 

The  Close  consists  of  two  double  bars  drawn  across  the  end  of  the  staf^ 
to  indicate  the  close  of  the  composition. 

24.  What  is  a  Measure  ? 

A  measure  is  a  group  of  two  or  more  regularly  recurring  i)ulsations. 

25.  How  is  a  measure  represented  ? 

A  measure  is  represented  by  the  space  between  two  bars. 

26.  A  measure  having  two  pidsations  is  called  what  ? 
Double  measure. 

27.  A  measure  having  three  pulsations  is  called  what  ? 
Triple  measure. 

2S.  A  measure  Jiaving  four  pulsations  is  called  xchat  ? 
Quadruple  measure. 

29.  A  measure  hating  stx  pulsations  is  called  what  ? 
Sextuple  measure,  or  compound  double  measure. 

30.  A  measure  having  nine  jndsations  is  called  what  ? 
Compound  triple  measure. 

31.  A  measure  having  twelve  pulsations  is  called  what  ? 
Compound  (juadruple  measure. 

32.  ir//«/ /.s  Beating;  Ti.me  ? 

Indicating  each  pulsation  of  a  measure  by  a  certain  motion  of  the  hand. 


fABT  I.]  CATECHETICAL,  3 

33.  Describe  the  beats  in  double  measure. 
Down,  aud  up. 

34.  Describe  the  beats  in  triple  measure. 
Down,  left,  and  up. 

35.  Describe  the  beats  in  quadrwple  measure. 
Down,  left,  riglit,  and  up. 

3H.  Describe  the  beats  in  sextuple  measure. 

Down,  left,  left,  riglit,  up,  and  up;  or  simply  down  aud  up,  coni])rt' 
Heading  three  pulsations  to  each  motion. 

37.  Describe  the  beats  in  compound  triple  measure. 

Down,  left,  and  up,  comprehending  three  pulsations  to  eacii  motion. 

38.  Describe  the  beats  in  compound  quadruple  measure. 

Down,  left,  right,  aud  up,   comprehending  three  pulsations  to  each 
motion. 

39.  Wliat  is  Accent? 

A  slight  stress  upon  a  certain  pulsation,  to  mark  its  position  in  the 
measure. 

40.  Which  pulse  *  of  double  measure  is  accented? 
The  first. 

41.  ^V}lich  pjulse  of  triple  measure  is  accented  ? 
The  fii-st. 

42.  ^VIlich  pulses  oj  quadruple  measure  are  accented  1 

It  has  a  primary  accent  on  the  fii-st,  and  a  secondarj' accent  on  the  third. 

43.  Wliich  pulses  ofsectuple  measure  are  accented  ? 

A  primary  accent  on  the  first,  and  a  secondary  accent  on  the  fourth. 

44.  Which  pulses  of  compound  triple  measure  are  accented  ? 

A  primary  accent  on  the  first,  and  secondarj'  accents  on  the  fourtli.  anc' 
seventh. 

45.  Which  pulses  of  compound  quadruple  measure  are  accented  ? 

A  primary  accent  on  the  first,  and  secondary  accents  on  the  fooi'th, 
seventli.  and  tenth. 

46.  What  is  the  Fraction'  ? 

The  figures  placed  at  the  beginning  of  a  composition. 

47.  W7iat  does  the  numerator  denote  ? 
The  number  of  inilsations  in  the  measure. 

48.  What  does  the  denominator  indicate  ? 

The  kind  of  note  which  is  reckoned  to  each  pulse  of  the  measure. 

49.  Wliat  is  the  rule  for  applying  words  to  nitisic  ? 
Apply  one  syllable  of  the  words  to  each  note. 

,50.    ^iVlKd  is  a  Slur  ? 

A  curved  line  connecting  two  or  more  notes  upon  different  degrees  ol 
the  staff. 


*  We  need  hardly  say  that  this  word  '■  pulxc.  "  nr  "  puhntion  "  is  the  game  as  was 
formerly  called  •■part,"  and  is  still  called  "  beat  "  by  some  authors 


THEORY  OP  MUSIC  [BookL 

51.  What  ts  a  Tie? 

A  curved  line  connecting  two  or  more  notes  upon  the  same  degree  of 
the  staff. 

52.  What  is  the  rule  for  applying  words  when  the  slur  or  tie  occurs  ? 
Apply  one  syllable  of  the  words  to  as  many  notes  as  are  so  connected. 

53.  What  are  Rests  ? 

Characters  indicating  suspension  of  sound. 

54.  How  many  kinds  of  rests  are  there,  and  lohat  are  their  names  ? 
Six.     The  whole  rest,  the  half  rest,  quarter  rest,  eighth  rest,  sixteenth 

rest,  and  thirty-second  rest. 

55.  As  regards  duration,  rests  correspond  to  what  ? 
To  the  notes  of  the  same  denomination. 

56.  How  is  the  whole  rest  made  ? 
A  square  block  below  a  line. 

57..  How  is  the  half  rest  made  ? 
A  square  block  above  a  line. 

58.  How  is  the  quarter  rest  made  ? 
Lake  the  figure  7  reversed. 

59.  How  is  the  eighth  rest  mads  ? 
Like  the  figure  7. 

60.  How  is  the  sixteenth  rest  made  ? 
like  the  figure  7  with  two  heads. 

61.  How  is  the  thirty-second  rest  made  ? 
Like  the  figure  7  with  three  heads. 

62.  Into  how  many  classes  are  human  voices  generally  divided,  ana 
ihat  are  they  called  ? 

Four.     Base,  Tenor,  Alto,  and  Soprano. 

63.  Describe  Base  singers  ? 

Gentlemen  who  can  sing  low,  and  cannot  sing  high, 

64.  Describe  Tenor  singers  ? 

Gentlemen  who  can  sing  high,  and  cannot  sing  low. 

65.  Describe  Alto  singers  ? 

Ladies  who  can  sing  low,  and  cannot  sing  high. 

66.  Describe  Soprano  snigeis  ? 

Ladies  who  can  sing  high,  and  cannot  sing  low. 

67.  What  is  meant  by  Middle  C  ? 

The  pitch  C,  which  all  voices  have  in  common;  it  being  in  the  middle 
of  the  i,Teat  vocal  comi)as3,  ladies  can  sing  as  many  tones  above  it,  as 
genthnnen  can  sing  below  it. 

68.  How  is  the.  pitch  middle  C  represented  ? 

By  the  added  line  al)0ve  of  the  base  stafl',  the  added  fine  below  of  Uie 
aoprano  stafl".  and  by  the  third  space  of  the  tenor  staff. 

69.  What  is  a  Clkf? 

A  character  which  determines  the  pitch  of  tones  as  represented  by  the  staff: 


EAxrt]  CATECHETICAL.  11 

70.  Haw  many  clefs  are  there  in  general  use,  and  what  are  they  called? 
Three.     The  soprano  clef,  the  base  clef,  and  the  tenor  clef. 

71.  What  does  the  soprano  clef  indicate  ? 

That  the  pitches  are  so  arranged  as  to  fix  middle  C  on  the  added  line 
below. 

72.  What  parts  sing  from  the  staff  so  arranged  ? 

The  soprano  and  alto,  and  sometimes,  (always  incorrectly,)  the  tenor. 

73.  Wliat  does  the  base  clef  show  ? 

That  the  pitches  are  so  arranged  as  to  fix  middle  C  on  the  added  line 
above. 

74.  What  parts  sing  from  the  staff  so  arranged  ? 
The  base  and  sometimes  the  tenor. 

75.  What  does  the  tenor  clef  denote  ? 

That  the  pitches  are  so  arranged  as  to  fix  middle  C  on  the  third  space. 

76.  What  part  sings  from  the  staff  so  arranged  ? 
Tlie  tenor. 

77.  WJiat  was  the  former  use  of  the  tenor  or  Ccleff 

It  was  sometimes  placed  on  the  first  line  as  a  soprano  clef;  on  the  third 
line  as  an  alto  clef;  on  the  fourth  line  as  a  tenor  clef;  and  in  ancient  music 
it  was  sometimes  placed  on  the  second  line. 

78.  What  is  a  Brace,  and  what  does  it  indicate  ? 

The  brace  is  a  character  used  to  connect  two  or  more  staffs,  and  generally 
Indicates  tlie  numoer  of  parts  which  are  to  be  performed  simultaneously. 

79.  Staffs,  iche^i  connected  by  a  brace,  are  called  wlutt  ? 
A  Score. 

SO.   What  is  the  use  of  a  Dot  ? 

It  adds  one  half  to  the  rhjthmical  value  of  the  note  or  rest  after  which  it 
Is  placed. 

81.  How  is  the  repeat  made,  and  icliat  does  it  mean  ? 

It  consists  of  dots  placed  in  the  spaces  at  the  left  hand  of  a  bar,  and 
shows  that  the  preceding  passage  is  to  be  repeated. 

82.  ^VIlen  only  a  part  of  the  pi'evious  passage  is  to  be  repeated,  hoio  is 
rt  indicated  ? 

By  dots  placed  in  the  spaces  at  the  right  hand  of  a  bar,  in  which  case 
all  between  tne  two  sets  of  dots,  is  to  be  repeated. 

83.  What  does  Bis  imjAy  ? 

That  the  passage  so  marked  is  to  be  performed  twice. 

84.  What  does  the  Hold,  or  Pause,  denote  ? 

That  the  tone  indicated  is  to  lie  prolonged  at  the  option  of  the  leader. 

85.  What  is  a  U.visox  pa.ssage? 

A  passage  in  which  two  or  more  parts  sing  the  same  tones. 

86.  What  is  to  be  understood  by  the  letters  D.  0? 

The  Italian  words  Da  Capo;  more  frequently  the  Itahan  sentence  Da 
Capo  al  Fine. 


12 


THEORY  OF  MUSIC.  PooK  I 


87    What  is  the  translation  of  Da  Capo  al  Fine? 
Bn,  from  the:  aipo,  commencement;  al,  to  the;  Fine,  end;  sing  "from 
•:he  commencement  to  the  end." 

88.  What  is  the  meaning  of  D.  S? 
Dal  Segno,  retrnm  to  the  sign. 

89.  Wiat  are  triplets  ? 

Three  equal  tones  performed  in  the  time  of  one  pulse;  the  time  usually 
given  to  two  tones  divided  into  three  equal  parts. 
m.  How  are  they  represented  ? 
By  three  notes  grouped  with  a  slur  or  tie,  or  marked  with  a  figure  3. 

91.  Titans  Syncopatiox? 

Commencing  a  tone  on  an  unaccente.l  pulse  of  a  measure,  and  con- 
tinuing it  mto  the  following  accented  pulse,  Uiereby  temporarily  displacing 
the  usual  accent. 

92.  Wltat  are  Intermediate  Tones? 

Those  which  occur  between  the  regular  tones  of  a  Key. 

93.  Between  what  tones  of  a  major  Key  do  tvejind  ijitermediaie  i07W£  ? 
Between  1  and  2,  2  and  3,  4  and  5,  5  and  8,  and  6  and  7. 

94.  ^V7len  is  a  tone  said  to  resolve  ? 

When  it  is  followed  by  a  tr  ne  to  which  it  naturally  tends. 

95.  How  are  intermediate  tones  indicated  ? 

By  the  aid  of  characters  caUed  sharps  (»).  flats  fr),  and  cancels  (£).* 

96.  For  what  is  a  sharp  (S)  used  ? 

To  indicate  an  intermediate  tone,  the  tendency  from  which  is  upwatti. 

97.  For  ichat  is  aflat  (h)  used? 

To  indicate  an  intermediate  tone,  the  tendency  from  which  is  dowu- 

ward. 

98.  Far  what  is  a  cancel  (11)  nsed  ? 

To  cancel  the  effect  of  a  previous  sharp  or  flat 

99.  How  many  ways  are  there  of  representing  each  intermediate 
tone,  and  what  are  they  ? 

Two:  ifitstendeucvisupwartl,  it  is  represented  by  the  lower  of  two 
degrees,  and  called  sliarp:  if  its  tendency  is  downward  it  is  representea 
b\"the  higher  of  the  two  degrees,  and  called  flat.f " 

*  The  pernicious  effects  of  calling  this  chaimter  (g)  a  ■■  Natural' 'are  awarei.t 

kuowledKe  of  the  subject,  that  the  key  of  C  is  more  natural  tbaii  "t^^ei  keys.^  and  tua 
the  real  difficultv  in  leaminR  to  read  music  only  bes.ns  ^^l^^'' ;«-/'^'™^X.acter 
Ipvs  is  clearlv  traceable  to  the  iuapproiniate  name  ot  this  character.  The  chaiacter 
H^Mf  s  ne  *er  u'^1  eicer.t  for  the  puiTose  of  canceliuK  the  effect  of  a  previou.s  sharp 
o'^fllt  hence  no  inTa^e  can  ariL  i?,  which  the  word  -naturaV  ^^-J„^„^  ".^"^T.^^^^r 
iw  wn.rl  ••  rANTEL"  Would  not  be  more  appropriate.  For  tliese  rea,-,out,  the  autnor 
L'^  ecided'^'^oV\he  name  Ca^ci.  inst'e'ad;  and  would  -"^  all  tea^h^rs  o  a^s,^ 
inthe  effort  to  curtail  the  evil  effects  of  the  term  natural.-U.  R.  P.,  >ew  YorK,  Apru 
13,  1876. 
t  There  are  exceptions  to  this,  as  to  all  general  rixlea. 


pabti.'  catechetical.  23 

100.  W/iat  is  a  Chromatic  Scale  ? 

A  scale  iu  which  all  the  tones,  intermediate  and  diatonic,  occur  in  suc- 
cessive order. 

101.  117///  lis  f/n's  scaJp.  called  chromatic  ? 

From  the  fact  that  the  intermediate  tones  were  formerly'  written  in 
colors. 

102.  What  are  Accidentals? 

Siiarps,  flats,  or  cancels  used  throughout  a  composition,  for  the  purpo.^e 
of  introducing  intermediate  tones,  or  a  modulation. 

103.  What  is  the  rule  for  their  contiunatice  ? 

Accidentals  continue  their  significance  throughout  the  measure  in 
which  they  occur.  * 

104.  1T^«^  is  1,  or  8,  of  any  key  called  ? 
The  Key-tone,  or  Tonic. 

105.  What  is  the  difference  between  a  scale  and  a  key  ? 

A  scale  implies  a  certain  order  of  succession ;  while  the  familj'  of  tones 
of  which  it  is  formed,  called  the  Key,  may  be  used  in  any  possible  order. 

106.  What  other  difference  is  there  ? 

A  Scale  must  have  eiglit  tones,  while  a  Key  is  manifested  with  seven. 

107.  Wliat  is  the  order  of  intervals  in  the  major  Key  ? 

Major  seconds  must  occur  between  1  and  2,  2  ami  3,  4  and  5,  5  and  6. 
and  C  and  7;  minor  seconds  must  occur  between  3  and  4,  and  7  and  S. 

108.  Wliat  is  a  Signature  ' 

Tlie  sharps  or  flats  at  the  beginning  of  a  composition,  which  iuaicai« 
the  Key  or  Scale. f 

109.  How  many  m,ajor  keys  are  there  in  general  use  ? 
Twelve. 

110.  What  tones  form  the  key  of  C? 

C,  D,  E,  F,  G,  A  and  B. 

111.  1  Vhat  is  the  signature  of  the  key  of  G  ? 
It  has  no  signature. 

112.  What  tones  fonn  the  key  of  G  ? 
G,  A,  B,  0,  D,  E,  and  F#. 

113.  W^iut  is  the  signature  of  the  key  of  Q?\ 
One  Siiarp. 

114.  What  tones  form  the  key  of  D  ? 

D,  E,  n,  G,  A,  B,  and  C«. 

115.  \Miat  is  the  signature  of  the  key  of  D  ? 
Two  Sharps. 

*  The  additioual  clause  of  this  nile.  uamely,  'ami  from  measure  tu  measure,  until 
canceled  by  a  tiote  iuterveuiug  upou  auother  degree  of  tlie  stafl'."'  is  vt-ry  properly 
discontinued  l)y  most  of  our  composers,  as  it  is  of  uo  benefit,  auil  causes  great  confu- 
sion. In  all  the  author's  works  whenever  an  accidental  is  required  iu  the  following 
measure  it  will  be  placed  there. 

t  See  Webster's  Dictionary. 


».  THEORY  OF  MUSIC.  iiBOOK  I 

116.  W?iat  tones  form  the  key  of  A  ? 

A,  B,  Ct,  D,  E,  Ft,  and  G$. 

117.  What  is  the  siff  nature  of  the  key  of  A  ? 
Three  Sharps. 

118.  Mf'f't  tones  form  the  key  ofE? 
E,  F«,  GS,  A,  B,  C«,  and  D$. 

119.  What  is  the  signature  of  the  key  of  El 

Four  Sharps. 

120.  What  tones  form  the  key  ofB? 

B,  CJ,  D$,  E,  F$,  G$,  and  A«. 

121.  Wliat  is  the  signature  of  the  key  of  B  ? 
Five  Sharps. 

122.  What  tones  form  the  key  ofF%? 
Fl,  Gt,  AS,  B.  CS,  D«,  and  E».  * 

123!    What  is  the  signature  of  the  key  of  it? 
Six  Sharps. 

124.  Wait  tones  form  the  key  ofF? 
F,  G,  A,  Bb,  C,  D,  and  E. 

125.  What  is  the  signature  of  the  key  ofF? 
One  flat. 

126.  YMiat  tones  form  the  key  ofB\y  ? 
Bb,  C.  D.  Eb,  F,  G,  and  A. 

127.  What  is  the  signature  of  the  key  of  Bn  f 

Two  fiats. 

128.  What  tones  form  the  key  of  Eb  ."' 
Eb,  F,  G,  Ab,  Bb.  C,  and  D. 

129.  What  is  the  signature  of  the  key  of  £h  ? 
Three  flats. 

130.  117/^//  tones  form  the  key  of  Ab? 
Ab,  Bb,  C,Dl7,  Eb,  F,  andG. 

131.  What  is  the  signature  of  the  key  oj  Ab .'' 

Four  flats. 

132.  What  tones  form  the  key  of  Db  •" 
Db,  Eb,  F,  Gb,  Ab,  Bb,  and  C. 


T^.  ]^„*  oi+hmio>i   <lio  iMtch   Et  iB  icleutical  with  the  pitch  F, 

*  It  will  be  readily  seen  that  altno"^^^"''',  ^  ,,,^"  ,,*s,.ntea  as  F.  Firslty.  the  1) 
then,  are  two  v..a.so,.s  why  it  '^^^^'^^^^^f^TZTL  K  decree  .'uld  he 
de^r.-e  of  the  statV  beum    "^ed  lur  0   ami  the  1         M  instead  d  a 

l.tt  out;  thus  .nakL.iH  the  i"te''^''>  ^^5^^''';  '^  ul  d  re  iv-'Ut  H,  eauuot  be  u.ed 
Hecond;  ami  s.condl,,.  the  F  decree  '»^^>"o'.f,'''^'^>  .^ae  t,  ^^  •  e.it  two  toue..  a  half 
to  represent  7;  for.  althouKh  a  decree  ^an      e  n,    le  t  ,      _P  ,,.preReut  two 

step,  or  even  a  step  apart,  it  can.  >n  no  jnM^  "''"'''•  \^;,;;'^';J',,,,,.  ft  should  be 
tonlls,  the  h.terval  hetwee,.  ^^^^^ ^;i^^:^;^Z^]Z  iVo  •.  whi  e  tile  word  step  o.' 
ren.euil)ered.  that  the  wora  second  "V^f^J^o"  'l  ence  t  Ze  writers  and  teachers  ard 
hall  step  ma„  or  ma,,  not  Mnply  t"''; 'l^-K^''^,;-,  ,  ,^ t  "o  's  a  step   Ironi  three  to  lour  is  a 

sa?"^''^Foi^>"--:^i"  t;::'v::s.;;:r^^K  t^E,  («a.ue  puch  as ., . . 

haU-step,  but  it  is  uot  a  miuor  secoud. 


Part  I.j  c  ATECHETICAL  15 

133.  Uliat  is  the  signature  of  the  key  of  %  ? 
Five  flats. 

134.  What  tones  form  the  key  of  Go  ? 
Gb,  Ah,  Bi7,  a,  Db,  Ei.  and  F. 

135.  What  is  the  siynature  of  the  key  of  Gb/" 
Six  flats. 

136.  \Vhat  is  a  Minor  Scale  ? 

A  scale  iu  whicli  the  intervals  from  1  to  3  and  from  1  to  6  are  minor. 

137.  What  is  Hie  order  of  intervals  in  the  minor  scale  ? 

Jiajor  seconds  must  occur  between  1  and  2,  3  and  4,  and  4  and  5; 
iiinior  seconds  must  occur  between  2  and  3,  5  and  6,  and  7  and  8;  while 
from  6  to  7  must  be  an  augmented  second. 

138.  Should  this  order  be  preserved  in  descending  ? 
It  should. 

13'J.  How  is  the  harshness  of  the  augmented  second  between  6  and  7 
sometimes  temporarily  avoided  ? 

By  "raising  the  sixth,"  or,  more  correctly  speaking,  by  making  the 
intiM'val  from  1  to  6  major  instead  of  minor.* 

14'-    What  tones  form  the  key  of  A.  minor  ? 

A,  13,  C,  D,  E,  F,  and  G«. 

141.  What  is  the  signature  of  the  key  of  A  minor  ? 
Like  its  relative,  C  major,  it  has  no  signature. 

142.  What  tones  form  the  key  of  E  minor  ? 
E,  F$,  G,  A,  B,  C,  and  D|. 

143.  lT7/f//  is  the  signature  of  the  key  of  E  minor  ? 
Like  its  relative,  G  major,  it  has  one  sharp. 

144.  W^at  tones  form  the  key  of  B  minor  ? 

B,  Clt,  D,  E,  Fit,  G.  and  Alt. 

145.  'Wlait  is  the  signature  of  the  key  of  B  minor  ? 
Like  its  relative,  D  major,  it  has  two  sharps. 

146.  Wliat  tones  form  the  key  of  Y%  minor? 
PJ,  Gl  A,  B,  C«.'d,  andEJ. 


*  This  avoidance  of  the  augmeuteil  secouil  between  6  aud  7,  by  "i-aisLug  6,"  gave 
rise  to  what  has  been  caHed  the  "Melodic  Minor  Scale,"  which  is  given  by  some 
writei's,  and  still  adhered  to  by  many  teachers.  But  the  law  which  provides  that  all 
douiiuant  chords  shall  have  major  thirds,  and  thus  fixes  7  of  the  minor  key  a  half- 
step  below  8.  is  no  more  binding  than  the  law  which  says  that  the  sub-dor»inant 
chord  of  a  minor  key  .shall  always  have  a  minor  third,  and  so  establishes  the  interval 
of  an  augmented  second  from  li  to  7.  It  is  absolutely  impossible  to  harmonize  the 
melodic  form  in  any  acceptable  manner;  and  while  all  the  classical  composers  fre- 
quently gave  that  form  in  melodic  pa.ssages.  they  invariably  wrote  the  sub-dominant 
chord  WMtli  a  minor  third,  ilo.st  of  the  old  theorists  jiass  over  this  striking  incon- 
sistency iu  silence;  probably  recognizing  the  fact  that  any  attempt  to  reconcile  such 
palpable  contradictions  would  be  utterly  useless.  Uichter  says  that  "The  sixth 
degree  of  the  minor  scale  (key)  is  not  capabl*-,  in  a  hfinnnnw  smsi-.  of  auy  such  chro- 
matic  alteration;"  also  that  the  sub-dominant  chord  with  a  major  third,  (in  the 
minor  key.)  •■  cannot  be  conceived  of.  •  in  other  words,  we  have  but  one  wiuor  keii, 
that  which  has  been  known  as  the  Hnrnuinic  Minor;  (the  order  of  intervals  of  which 
is  given  at  question  137.)  and  while  we  frequently  form  a  scale,  called  the  Melodic 
Minor  Scale,  there  never  was  a  Melodic  Minor  Key.  Whenever  such  paeaftges  occur, 
they  can  easily  be  accounted  for  as  paaeiug  tones  or  appoggiaturaa. 

See  remark  on  page  68. 


-g  THEORY  OF  MUSIC.  [BookL 

147.  Wmt  is  the  signature  of  the  key  of  F«  minor  ? 
Like  its  relative,  A  major,  it  has  three  sharps. 

148.  What  tones  form  the  key  of  C»  minor? 
a,  m,  E,  F«,  GS,  A,  and  BJf.  .  ^^      .  _  p 

149.  What  is  the  signature  of  the  key  oj  C«  minor  f 
Like  its  relative,  E  major,  it  has  four  sharps.^ 

150.  Wliat  tones  form  the  key  of  GJ  minor  ? 
G35,  A«,  B,  C«.  D»,  E,  aud  F  douljle  sharp  (X)- 

151.  Wiat  is  the  signature  of  the  key  of  Gtt  minor? 
Like  its  relative,  B  major,  it  has  live  sharps. 

152.  Wliat  tones  form  the  key  of  D«  minor  ? 
D8  EJ,  Fit,  GJt.  AJ,  B,  and  C  double  sharp. 

153.  What  i^  the  signature  of  the  key  of  D«  minor  ? 
Like  its  relative,  Fjf  major,  it  has  six  sharps.  '^ 

154.  Wiat  tones  form  the  key  of  D  minor  ? 
D,  E,  F,  G,  A,  B(r,  and  C«. 

155.  Wiat  is  the  signature  of  the  key  of  D  minor? 
Like  its  relative,  F  major,  it  has  one  flat. 

156.  Wliat  tones  form  the  key  of  G  minor  ? 
G,  A,  Bb,  C.  D,  Eb,  and  F«.  ^  ^      •  „.  ? 

157.  Wh at  is  the  signature  of  the  key  of  G  minor  ? 
like  its  relative,  Bfe  major,  it  has  two  flats. 

158.  Wiat  tones  form  the  key  of  C  minor  ? 

C,  D,  Eb,  F,  G,  Ab,  and  B.  .o      •        ? 

159.  Wiat  is  the  signature  of  the  key  ofC  minor? 
Like  its  relative,  Efe  major,  it  has  three  flats. 

160.  Wait  tones  form  the  /cey  oj  F  minor 
F  G    \It  Bb,  C,  Db,  and  E. 

m'  Wmt  is  tM  signature  of  the  key  of  F  minor  ? 
Like  Its  relative,  Ab  major,  it  has  tour  flats. 
162.    What  tones  form  the  key  o/Bb  minor  ? 
Bb,  C.  Db.  Eb,  F,  Gb,  and  A.  „,       .        o 

103    H^«/  isaie  signature  of  the  key  ,/  Bb  nunor  ? 
Like  its  relative.  Db  major,  it  has  five  flats. 

164.  What  to: ''^s  form  the  key  of  Eb  minor 
Eb  F,  Gb,  Ab.  Bb,  Cb,  and  D. 

165.  Wat  is  the  signature  of  the  key  of  Hj  nunor? 
Like  its  relative,  Gb  major,  it  lias  six  flats. 

i„..  th."  mclodv.  l.ut  which  do  not  torm  an  essential  i.ait  ol 
of  a  measure. 


? 


.  ? 


Part  L]  catechetical. 

168.  How  is  it  usually  represented? 
By  a  smaller  note. 

169.  TlV/^/^S  ««  ACCIACCATUKA? 

A  passing  tone,  a  half  step  above  or  below  the  tone  to  which  it  is  pre- 
fixed. It  is  usually  written  with  a  dash  across  its  hook;  it  has  no  de- 
termined time-value,  and  should  be  closely  blended  with  the  following 
tone. 

170.  ^\llat  is  an  After-tone? 

A  passing  tone  which  follows  an  essential  tone,  on  an  unaccented  pulse 
of  a  measure. 

171.  H<m  many  degrees  of  power  are  there,  and  what  are  they  called  7 
Five;  Pianissimo,  Piano,  Mezzo,  Forte,  and  Fortissimo. 

172.  What  does  Pianissimo  mean  ? 

That  the  tone  or  passage  so  marked  should  be  performed  with  great 
restraint ;  the  first  degree  of  power. 

173.  WluU  does  Piano  mean  ? 

That  the  tone  or  passage  should  be  performed  with  restraint;  the  second 
degree  of  power. 

174.  Wliat  does  Mezzo  mean  ? 

That  the  tone  or  passage  should  be  performed  with  medium  power, 
neither  restraint,  nor  with  uncommon  exertion;  the  third  or  middle  degree 
of  power. 

175.  Wluit  does  Forte  mean  ? 

That  the  tone  or  passage  should  be  performed  with  some  exertion;  the 
fourth  degree  of  power. 

176.  Wliat  does  Fortissimo  mean  ? 

That  the  tone  or  passage  should  be  performed  with  gi-eat  exertion,  the 
loudest  that  can  be  given  consistent  with  i.)urity;  the  fifth  degree  of 
power.* 

177.  What  does  Crescendo  mean  ? 

That  the  tone  or  passage  should  be  commenced  in  a  low  degree  of 
power  and  increased. 

*  These  five  degrees  of  power  are  suf&cieut  for  all  practical  purposes,  and  if  com- 
posers would  grade  them  in  this  way,  pei'formers  would  soou  learu  to  use  them  so. 
That  there  is  an  innumerable  number  of  degrees  of  power  between  pianissimo  and 
piano  must  Ije  admitted;  otherwise  no  such  eilect  as  crescendo  could  be  produced, 
but  like  the  innumerable  number  of  pitches  which,  all  must  admit  lie  betweeu  Caud 
r;.  the  human  mind  cannot  classify  or  analyze  them. 

After  many  years'  experience  in  conducting  large  bauds  of  performers,  both  vocal 
and  instrumental,  the  writer  Is  prepared  to  assert,  without  fear  of  contradiction,  that 
no  perlormer  can  prodiu-c  a  digrec  of  power  between  pinno  and  mfzzn  nr  betweeu 
mezzo  aixAfiirle.  (any  more  than  tbey  can  produce  a  pitch  between  C  and  CJ:)  hence 
the  terms  inezzn-pimtn  and  mfzzn-fortf.  with  their  abl)reviations  m  p.  and  m.f.  are  non- 
sensical, and  should  be  thrown  out  of  oin-  nomenclature.  We  might  as  well  say 
mt^zzo-piiinissimo  or  mezzn-fortis.timo.  The  bad  etfccts  which  have  ai-iseu  from  a  lack 
.)f  a  classification  of  these  degrees  of  power  is  shown  by  tlie  tact  that  when  our  mod- 
ern composers  wish  a  passage  to  l>e  perfnrnied  nidiiixsiiiio.  thev  mark  it  with  three  or 
even  with  four  p'.f.  Now.  as /</aHi«S/mo  means  that  the  tone  or  pji-ssage  shall  be  as 
soft  as  possible,  we  cannot  make  it  softer  with  a  dozen  p's  :  and  if  fortissimo  meant 
all  the  power  of  which  the  performer  is  capable,  (consistent  with  pure  tone,)  a  thous- 
and/'s  would  not  make  it  louder. 


18  THEORY  OF  MUSIC.  [BOOK  1. 

178.  What  does  Decrescendo,  or  Dhninuendo  mean? 

That  the  tone,  or  passage,  should  be  commenced  with  a  high  degree 
of  power,  and  decreased. 

179.  What  does  Swell  mean  ? 

A  union  of  crescendo  and  diminuendo. 

180.  Whftt  does  Sforzando  mean  '/ 

That  the  tone  should  be  conniienced  in  a  high  degree  of  power,  and 
instantly  dimmished,  and  held  in  a  lower  degree  of  power 

181.  What  does  Legato  mean  ? 

That  the  passage  should  be  performed  in  a  smooth  and  connected  man- 
ner. 

182.  Wliat  does  Staccato  mean  ? 

That  the  tones  should  be  performed  in  a  short  and  distinct  manner, 
and  should  be  sustained  only  one-fourth  as  long  as  represented. 

183.  Wliaf  does  Semi-staccato  mean  ? 

Tliat  the  tones  should  be  less  short  and  distinct  than  staccato,  and 
should  be  sustained  one  half  as  long  as  represented. 


•^»K 


PART     SECOND 


THOROUGH  BASE. 


184.  What  is  Thorough  Base  ? 

Thorough  Base  is  that  part  of  the  science  of  music  which  treats  of  a 
combination  oi  tones  intq  chords;  giving  their  names,  relations,  inver- 
sions, and  the  figures  by  wliich  they  are  expressed. 

185.  What  is  an  Interval  ? 

An  interval  is  the  difference  of  pitch  between  two  tones,  or  their  effect 
when  performed  simultaneously. 

186.  What  is  a  Prime  ? 

Prime  is  the  name  given  to  two  tones  which  involve  but  one  degre^in 
representation,  as  C  and  Ct. 

187.  What  is  a  Second  ? 

An  interval  which  mvolves  two  degrees  in  representation,  as  C  and  D. 

188.  Wliat  is  a  Third  ? 

An  interval  which  involves  three  degrees,  as  C  and  E. 

189.  Wliat  is  a  Fourth  ? 

An  interval  which  involves  four  degrees,  as  C  and  F. 

190.  WJiat  is  a  Fifth  ? 

An  interval  which  involves  five  degrees,  as  C  and  G. 

191.  WJiat  is  a  Sixth? 

An  interval  which  involves  six  degrees,  as  C  and  A. 

192.  What  is  a  Seventh  ? 

An  interval  which  involves  seven  degrees,  as  0  and  B. 

193.  What  is  an  Octave? 

An  interval  which  involves  eight  degrees,  as  C  and  C  above. 

194.  Wliat  is  a  Ninth  ? 

An  interval  which  involves  nine  degrees,  as  C  and  D,  nine  degrees 
above. 

195.  How  many  kinds  of  primes  are  there,  and  what  are  they  called  ? 
Two;  perfect  primes,  and  augmented  primes. 

196.  How  many  kinds  of  Seconds  are  there,  and  what  are  they  called? 
Three;  major  seconds,  minor  seconds,  and  augmented  seconds. 

197.  How  m,any  kinds  of  thirds  are  there,  and  what  are  they  called ' 
Three;  major  thirds,  minor  thirds,  and  diminished  thirds. 


20 


THEORY  OF  MUSIC.  [Book  L 


198.  How  many  kinds  offourtlis  are  there,  and  what  are  they  called? 
Three;  perfect  fourths,  diminished  fourths,  and  augmented  fourths. 

199.  How  maun  kinds:  n/Jlfths  are  there  ? 

Three;  perfect  fifths,  diminished  fifths,  and  augmented  liftlis. 

200.  How  many  kinds  of  Sixths  are  there  ? 

Three;  minor  sixths,  major  sixths,  and  augmented  sixths. 

201.  How  many  kinds  of  Sevenths  are  there  ? 

Three;  major  sevenths,  minor  seventlis,  and  diminislied  sevenths. 

202.  How  many  kinds  of  Octaves  are  there  ? 
Two;  perfect  octaves,  and  diminished  octaves. 

203.  How  many  kinds  of  Ninths  are  there  ? 

Three;  minor  ninths,  major  ninths,  and  augmented  ninLha. 

204.  Hoiv  are  Intervals  measured  ?  • 
By  means  of  steps  and  half-steps. 

205.  Wliat  is  a  Half-Step  ? 

The  smallest  intei-val  now  in  use. 

206.  What  is  a  Step  ? 

An  interval  as  great  as  two  half-steps. 

''07.   What  is  a  perfect  Prime  ? 

'I'wo  tones  upon  the  same  pitch ;  a  unison. 

208.  miat  IS  an  augmented  Prime  ? 
A  prime  as  great  as  a  half-step. 

209.  Wliat  is  a  minor  Second? 
A  second  as  small  as  a  half-step. 

210.  Whfd  is  a  major  Second  ? 
A  second  as  great  as  a  step. 

211.  Wliat  is  an  augmented  Second? 
A  second  as  great  as  a  step-and-a-half. 

212.  What  is  a  diminished  Third? 
A  third  as  small  as  two  half-steps. 
213     What  is  a  minor  Tliird? 

A  third  as  great  as  one  step  and  one  lialf-step. 

214.    What  is  a  major  Third? 

A  tiiird  as  great  as  two  steps. 

21.').    What  is  a  diminished  Fourth  ? 

A  fourth  as  great  as  one  step  and  two  half-steps. 

21(1.    [\'7iat  is  a  perfect  Fourth  ? 

A  fourth  lis  gr(!at  as  two  stei)s  and  one  half-step. 

217.  What  is  an,  augmented  Fourth  ? 
A  fourth  as  great  as  three  steps. 

218.  W7/at  is  a  diminished  Fifth  ? 

A  fifth  as  great  as  two  steps  and  two  half-steps. 

219.  Wfait  is  a  perfect  Fifth  ? 

A  fifth  as  great  as  three  steps  and  one  half-step. 


#ABT  n.]  CATECHETICAL.  21 

220.  What  is  an  atigmented  I\fth  ? 
A  tiftb  as  great  as  four  steps. 

221.  What  is  a  minor  Sixth  ? 

A  sixth  as  great  as  three  steps  and  two  half-steps. 

222.  What  is  a  major  Sixth  ? 

A  sixth  as  great  as  four  steps  aud  oue  half-step. 

223.  What  is  an  augmented  Sixth  ? 
A  sixtli  as  great  as  five  steps. 

224.  What  is  «  diminished  Seventh  ? 

A  seventh  as  great  as  three  steps  and  three  half-steps. 

225.  ^V^lat  is  a  minor  Seventh  ? 

A  seventh  as  great  as  four  steps  and  two  halt-steps. 

226.  miat  is  a  major  Seventh  ? 

A  seventh  as  great  as  live  steps  and  oue  half-step. 

227.  What  is  a  diminished  Octave  ? 

An  octave  as  great  as  fom*  steps  and  three  half-steps. 

228.  ^Vhat  is  a  perfect  Octave  ? 

An  octave  as  great  as  five  steps  aud  two  half-stepp 

229.  What  is  a  minor  Ninth  ? 

A  uinth  as  great  as  five  steps  and  three  half-steps. 

230.  WJiat  is  a  major  Ninth  ? 

A  ninth  as  great  as  six  steps  and  two  half-steps. 

231.  l]'7Mt  is  an  aatjmented  Ninth  ? 

A  ninth  as  great  as  five  steps,  two  hralf-steps,  aud  a  step-and-a^half. 

232.  TT7<a^  is  a  chromatic  Half-step  ? 

A  half  step,  which  nivolves  but  one  degree  iu  representation,   as  C  aud 
CJ,  A  aud  Ab;  au  augmented  prime. 

233.  Wliat  is  a  diatonic  Half-step  ? 

A  half-step,   involving  two  degrees  in  representation,  as  C  and  Db,   D 
and  Ek;  a  minor  second. 

234.  Wlien  is  an  Interval  said  to  he  inverted  ? 

■When  its  position  is  so  changed  that  tlie  lower  tone  becomes  the 
higher. 

235.  .1  Prime,  when  inverted,  becomes  wimt  ? 
An  octave. 

236.  A  Second,  when  inverted,  beco7nes  what  ? 
A  .seventh. 

237.  A  TJtird,  when  inverted,  becomes  what  ? 
A  sixth. 

238.  A  Fourth,  when  inverted,  becomes  what  ?• 
A  fifth. 

239.  A  Fifth,  when  inverted,  becovies  what  ? . 
A  fourth. 


THEORY  OF  MUSIC.  [Boo*  I 

240.  A  Sixth,  when  inverted,  becomes  what  ? 
A  third. 

2il.  ^4  Seventh,  when  inverted,  becomes  tvhat  ? 
A  second. 

242.  An  Octave,  when  inverted,  becomes  what? 
A  prime. 

243.  A  Ninth,  when  inverted,  becomes  what? 
A  seventh. 

244.  A  diminished  Interval,  when  inverted,  becomes  what? 
It  becomes  an  augmented  interval. 

245.  A  minor  Interval,  when  inverted,  becomes  what  ? 
It  becomes  a  major  interval. 

246.  A  perfect  Interval,  'when  inverted,  becomes  what  ? 

Unlike  other  intervals  it  does  not  change  its  character  by  inversion,  but 
becomes  a  perfect  interval  of  another  denomination. 

247.  A  major  Interval,  ivhen  inverted,  becomes  what? 
It  becomes  a  minor  interval. 

248.  An  augmented  Interval,  when  inverted,  becomes  what? 
It  becomes  a  diminished  interval. 

249.  A  pen-feet  Prime,  when  inverted,  becomes  wJiat  ? 
A  perfect  octave. 

250.  An  augmented  Prime,  when  inverted,  becomes  what? 
A  diminished  octave. 

251.  A  minor  Second,  when  inverted,  becomes  what? 
A  major  seventh. 

252.  A  major  second,  when  inverted,  becomes  what  ? 
A  minor  seventh. 

253.  An  augmented  second,  when  inverted,  becomes  what  ? 
A  diminished  seventh. 

254.  A  diminished  third,  when  invered,  becomes  what  ? 
An  augmented  sixth. 

255.  .1  minor  third,  when  inverted,  becomes  what  ? 
.A  major  sixth. 

256.  A  major  third,  when  inverted,  becomes  xohat  ? 
A  minor  sixth. 

257.  A  diminished  fourth,  lohen  inverted,  becomes  what  ? 
An  augmented  fifth. 

258.  A  perfect  fourth,  when  inverted,  becomes  what  ? 
A  perfect  fifth. 

259.  An  augmented  fuurth,  when  inverted,  becomes  wha:  f 
A  diminislicd  fifth. 

200.  A  diminished jifth,  wlien  inverted,  becomes  what? 
An  augmented  fourth. 


Past  II.] 


CATECHETICAL.  23 


261.  A  perfect  fifth,  when  inverted,  becomes  wliat  ? 
A  perfect  fourth. 

262.  An  augmented  fifth,  when  inverted,  becomes  what? 
A  dimiuished  fourth. 

263.  A  minor  sixth,  wlien  inmrted,  becomes  what  ? 
A  major  third. 

264.  A  major  sixth,  when  inverted,  becomes  what  ? 
A  minor  third. 

265.  An  augmented  sixth,  when  inverted,  becomes  what? 

A  diminished  third. 

266.  A  diminished  seventh,  when  inverted,  becomes  what  f 
An  augmented  second. 

267.  A  minor  seventh,  when  inverted,  becomes  wJuit? 
A  major  second. 

268.  A  major  seventh,  when  inverted,  becomes  wliat  ? 
A  minor  second. 

269.  A  diminished  octave,  when  inverted,  becomes  what? 
An  augmented  prime, 

270.  A  perfect  octave,  when  inverted,  becomes  what  ? 
A  perfect  prime. 

271.  A  minor  ninth,  when  inverted,  becomes  what  ? 
A  major  seventh. 

272.  A  major  ninth,  when  inverted,  becomes  what? 
A  minor  seventh. 

273.  An  augm,ented  ninth,  when  inverted,  becomes  what  .* 
A  diminished  seventh. 

274.  What  Is  meant  by  Tonic? 

The  tone  upon  which  the  key  is  founded,  the  key-tone, 

275.  WJiat  is  meant  by  Supertonig? 

Two  of  the  key,  or  the  tone  first  above  the  tonic. 

276.  WJiat  is  meant  by  Mediant? 

Three  of  the  key,  or  the  second  tone  above  the  tonic 

277.  What  is  meant  by  Sub-dominant? 

Four  of  the  key,  or  the  third  tone  alcove  the  tonic. 

278.  WJiat  is  meant  by  Dominant? 

Five  of  the  key,  or  the  fourth  tone  above  the  tonic. 

279.  ^\^iat  is  meant  by  Sl'b-mediant? 

Six  of  the  kej',  or  the  fifth  tone  above  the  tonic. 

280.  Wliat  IS  meant  by  Sub-tonic  or  Leading-tone? 
Seven  of  the  key.  or  the  tone  first  below  the  tonic. 

281.  Wliat  is  a  Chord? 

A  coml)iaation  of  two  or  mere  tones,  performed  simultaneously,  so  ar- 
ranged as  to  produce  an  agreeable  eflecU 


2*  THEORY  OF  MTTSIC.  'Book  v 

282.  Wiat  is  a  Triad  ? 

A  chord  composed  of  a  fundamental  tone,  together  with  its  third  and 

fifth. 

283.  Which  is  the  fundamental  tone  ? 
The  tone  upon  which  the  chord  is  fomided. 

284.  What  tones  form  the  triad  ofC. 

C,  E,  and  G. 

285.  What  tones  form  the  triad  of  D? 

D,  F,  and  A. 

286.  Wliat  tones  form  the  triad  o/  E? 

E,  G,  and  B. 

237.   What  tones  form  the  triad  of  F? 

F,  A,  and  C. 

288.  WJiat  tones  form  the  triad,ofGl 

G,  B,  and  D. 

289.  What  tones  form  the  triad  of  M 

A,  C,  and  E. 

290.  Mliat  tones  fm-m  the  triad  of  B? 

B.  D,  and  F. 

291.  ^^l^ich  are  the  princi-pal  Chords  of  the  major  key? 
The  chords  of  L  IV,  and  V. 

292.  Wliy  are  they  the  jyrincipal  Chords  ? 

Because  they  are  major  chords,  and,  together,  contain  all  the  tones  of 
the  key. 

293.  W/iat  is  a  consonant  Triad? 
One  which  has  a  perfect  fifth. 

294.  Wiat  is  a  disson'nd  Triad  ? 

One  which  lias  a  diminislied  or  augmented  fifth. 

29.5.   What  is  a  major  Triad  ? 

One  which  has  a  perfect  fifth  and  major  third. 

29G.    ]]'7iat  is  a  minor  Triad? 

One  winch  lias  a  perfect  fifth  and  minor  thii-d. 

297.  What  is  an  augmented  Triad  ? 

One  which  has  a  major  third  and  augmented  fifth. 

298.  Wliat  is  a  diminished  Triad  :' 

One  which  has  a  minor  third  and  diminislied  fifth. 

299.  The  chord  founded  ujwn  one  of  any  key  is  called  what  ? 
Tonical  harmony. 

300.  The  chord  founded  upon  two  of  any  key  is  called  ichat  ? 

Su|)er-tonic  harmony. 

301.  77/e  chord  founded  upon  three  of  any  key  is  adled  what  ? 
.Vfeiliiint  liarmonj'. 

302.  The  chord  founded  uuon  four  of  any  key  is  called  what  ? 
Sub-dominant  harmonj 


tiHTTl.]  OATEOHETICAL.  25 

303.  The  chord  fmnded  upon  five  of  any  key  is  calle  .  — —  . 
Dominant  hannony. 

304.  The  chord  founded  upon  six  of  any  key  is  called  what  ? 
Sub-mediant  harmony. 

305.  The  chord  founded  upon  seven  of  any  key  is  called  what  ? 
Sub-tonic  harmony,  or  Inirniouy  of  the  leading  tone. 

306.  How  many  major  Triads  are  there  in  a  major  key  ? 
Three;  the  triads  of  I,  IV,  and  V. 

307.  How  many  minor  Triads  are  there  in  a  major  key  ? 
Three ;  the  triads  of  ii,  iii,  and  vi. 

3C8.   The  Triad  of  x\i°  in  the  major  key  is  what  kind  oj  a  triad  ? 
A  diminished  triad. 

309.  WJiat  kind  of  a  Triad  is  that  which  is  founded  upoii  i  in  a  minor 
key? 

A  minor  triad. 

310.  WJiatkindoJ  a  Triad  is  that  which  is  founded  upon  n^of  amino* 
key? 

A  diminished  triad. 

311.  JV7u(t  kind  of  a  Triad  is  that  lohich  is  founded  upon  111',  of  &, 
minor  ket/  ? 

An  augmented  triad. 

312.  Wliat  kind  of  a   Triad  is  that  which  is  founded  upon  iv  oy  a 
minor  key  ? 

A  minor  triad. 

313.  What  kind  of  a  Triad  is  that  which  is  fowided  upon  Y  oj  a 
minor  key  ? 

A  major  triad. 

314.  What  kind  of  a  Triad  is  that  which  is  founded  upon  Ylqf  a 
minor  key  ? 

A  major  triad. 

315.  WJiat  kind  of  a  Triad  is  that  which  is  founded  upon  vii°  of  a 
minor  key  ? 

A  diminished  triad. 

316.  What  names  are  given  to  the  several  memhers  of  a  Triad  ? 
Fundamental,  third,  and  fifth. 

317.  When  is  a  chord  said  to  be  in  its  First  ^iosition  ? 
Wlien  the  fundamental  is  the  highest. 

318.  WJien  is  a  chord  said  to  be  in  its  Second  position  ? 
When  the  third  is  the  highest. 

319.  WJien  is  a  chord  said  to  be  in  its  TJiird  position  ? 
When  the  fifth  is  the  highest. 

320.  How  do  we  obtain  Four  part  harm.ony  xchen  titer e  are  hat  three 
tC'tes  in  a  chord  ? 

By  duplicatiiiij  one  of  the  tones. 


^  -  1HE0R\  Ot  MUSIC.  ^BooK  1 

lib 

321.  Tl^tc/i  o/^^e  three  is  it  best  to  duplicate  ? 
The  fundamental. 

322.  Wdch  next  best  ? 
The  tilth. 

S23.  May  xce  ever  duplicate  the  Third  ? 
Only  in  extreme  cases. 

324.  M7*/c/^  member  qf  a  Triad  should  never  be  omzWsd? 

The  third. 

325.  The  lowest  part  is  always  what  ? 

Base. 

326.  The  highest  part  is  always  what? 

Soprano. 

327.  The  part  next  below  the  Soprano  ts  wtiat  / 

Alto.  „  -   ^. 

328.  r/^e  part  between  the  Alto  and  the  Base  is  what  ? 

Tenor. 

329.  Wluit  figures  stand  for  the  Triad  2 

The  figures  I,  or  any  two  of  these  alone. 

330    Wliat  do  they  indicate  ? 

That  the  tones  which  form  the  third,  fifth,  and  eighth  from  the  Base  an. 
to  be  written  or  played. 

331.  Should  these  figures  always  be  used? 

tll^'l^ennl figures  appear,  what  chord  is  to  be  written  or  played. 

The  triad  of  the  letter  which  forms  the  Base. 

^Z-6.  Eow  is  a  TJnison passage  indicated? 

By  the  letters  "T.  S/'  or  -  Tasto  Solo/'  meaning  without  chords 

334    When  a  Dash  (-)  follows  the  figures,  what  does  d  signify 

That  the  tone  indicated  by  the  figure  which  precedes  the  dash  is  to  bi 

"'^^Twien  a  Sharp  (%),  Flat  (^),  or  Cancel  *  (^  is  placed  over  . 

^ase  note,  what  does  it  signify .'  .        ,      ,,       „,i  Aotto,-^ 

That  the  interval  of  a  third  from  the  Base  note  is  to  be  sharped,  flatten 

"'S^men  a  Sharp,  Flat,  or  Cancel  ^s  placed  be^e  a  figure,  what 

does  it  denote  ?  ,      i-       „    ;=  fr.  )io 

That  the  interval  from  the  Base,  indicated  by  the  figure,  is  to 

sharped,  flatted,  or  restored. 

337.    When  is  a  Chord  said  to  he  in  its  direct  form  ? 

When  the  Base  takes  the  fundamental.  

.  on  account  of  the  bad  effects  of  -"-^ ''jl-^-^^l^^Jil*  C  m^^^^^^^ 
ban  determiued  to  adopt  the  more  appropriate  term     caucU. 

ceaoouB,  see  note  ou  paye  1  . 


Past  0,1 


CATECHETICAL.  2? 


338.   V-^ien  is  a  Chord  said  to  be  in  its  first  inverted  form  ? 

WbeM  the  Base  takes  the  third. 

S39/  How  is  the  first  inversion  figured?  ' 

It  is  figured  |,  or  simply  e. 

3>40.  When  is  a  Chord  said  to  be  in  its  second  inverted  form  f 

When  the  Base  takes  the  fifth. 

341.  How  is  the  second  inversion  figured? 

It  is  figured  6,  or  simply  2- 

4 

342.  In  this  second  inversion  of  the  Triad,  which  member  is  it  best  to 
diiph'cate  ? 

The  fifth ;  the  tone  upon  which  the  Base  stands. 

343.  miaf  is  a  Dissonance  ? 

A  chord  in  which  two  tones  occur  in  alphabetical  order,  Or  one  iB 
ivliich  there  is  an  augmented  or  diminished  interval. 

344.  Wliat  is  a  chord  of  (he  Seventh  ? 

A  triad,  with  the  interval  of  a  seventh  added. 

345.  Wliat  is  meant  by  the  Dominant  seventh  ? 

A  choi-<l  of  the  seventh  founded  upon  the  Dominant. 
34G.  Of  n^hnt  intervals  must  it  always  consist  ? 
A  major  third,  perfect  fifth,  and  minor  seventh. 

347.  By  what  figures  is  it  indicated  ? 

7 

By  the  figures  5.  or  simply  7. 

3 

348.  How  many  Inversions  are  there  of  the  Dominant  seventh  ? 
Three. 

349.  W]>en  is  the  Dominant  seventh  said  to  be  in  its  first  inv&i'teOform* 
When  the  Base  takes  the  third. 

t»60.  How  is  the  first  inversion  of  the  dominant  seventh  figured? 

it  is  figured  5,  or  §. 

351.  When  is  it  said  to  he  in.  its  second  inverte<l  form  ? 
When  the  Base  takes  the  fifth. 

352.  How  is  the  second  inversion  of  the  seventh  figured  ? 

It  is  figured  4 ,  ov  %. 

3  "* 

353.  Wien  it  is  said  to  be  in  its  third  inverted  form  f 
Wlien  the  Base  takes  the  seventh. 

354.  How  is  the  third  inversion  of  the  seventh  figured  T 

It  is  figured  4,  w  |,  or  sometimes  simply  2. 


THEOUr  OF  MtrSIC.  i.-'WK  1, 

355.  AU  dominant  setenths,  whether  in  major  or  minor  k,  is,  must 
coisist  of  what  intervals  ? 

Major  third,  perfect  fifth,  and  minor  seventh. 

356    What  other  chords  of  the  seventh  are  there  in  general^  use^ 

A  chord  of  the  seventh  of  n  and  vn°  in  the  major  key,  and  a  chon.  of 
the  seventh  of  ii°,  and  of  vii°  in  the  minor  key. 

l^.What  intervals  form  the  chord  of  the  seventh  of  n  in  th.  maj., 

A  minor  third,  perfect  fifth,  and  minor  seventh. 

368.  Hoit'  is  it  most  frequently  employed  ? 

Tn  its  first  inverted  form.  „   .    ^, 

359.  Wiat  intervals  form  the  chord  of  the  seventh  ofvvP,  in  the  may>r 

keii ' 
A  minor  third,  diminished  fifth,  and  minor  seventh. 

360.  What  peculiarity  has  this-chord. 

The  seventh  must  always  be  in  the  Soprano. 

361.  mat  intervals  form  the  chord  of  the  seventh  of  if,  in  the  mtr^r 

key  ^ 
Aminorthird,diminislied  fifth,  and  minor  seventh 

362.  Wliat  intervals  form  the  chord  of  the  seventh  oj  vu°,  m  the  m'cn<^^ 

^'^ A  minor  third,  diminislied  fifth,  and  diminished  seventh. 

363.  What  is  this  chord  generally  called  ? 
The  chord  of  the  diminished  seventh. 

qfii    Whnf  U  <i  chord  of  the  ninth  ? 

Acho"o;  t;edo,™nit  seveatl,  to  wbicL  is  added  themtemlo.  a 

ninth. 
365.  How  is  it  figured? 

It  is  figured  ^. 

Qcc    tCTd;  vhnidd  the  7  be  used? 

T„;,i"tag.£i"tL,>o,.df,-o,,,  ninths,  wh,ch  are  sometimes  fome.,>J 

suspensions.  ,  ,  „ 

367    Upon  what  member  of  the  key  is  itjounded  ? 

chords  of  the  ninth  ? 
The  fifth. 

n^'   ^*!'i/tlu.  fifth  is  retained,  the  Chord  would  contain  two  perfect 


ABT  n.j 


TECHETICAL.  29 


371.  How  many  inversions  has  the  chord  of  the  ninth  ? 

Three:  uainely,  wlieii  the  base  takes  either  the  tbu-d,  lifth  or  seventh. 

372.  Are  chords  of  ihe  ninth  ever  founded  upon  other  tones  than  the 
dominant  ? 

Some  them-ists  reco-iiize  and  classify  chords  of  tiie  ninth  founded  upon 
»tlier  tones;  but  such  chords  are  generally  treated  as  suspensions,  which  ' 
enders  their  e.\i)lanation  vastly  le^ss  complicated. 

373.  What  are  chords  of  the  eleventh,  and  chords  of  the  thirteenth  ? 
Like  chords  of  the  ninth,  they  are  dominant  seventh  chords,  to  which 

s  added  the  interval  of  eleventh,    or  thirteenth. 

374.  Are  they  generally  classed  as  fundamental  harmonies  ? 

■  By  some  theorists  they  are  so  treated;  but,  as  they  always  have  the 
•/naracter  of  suspensions,  most  writers  choose  to  classify  them  as  such. 

375.  What  is  meant  Ijy  (dtered  chords  ? 

The  chromatic  alteration  of  one  or  more  intervals  of  fundamental  liar- 
iionies. 

376.  Wliat  is  the  effect  of  such  alteration  ? 

It  has  the  two-fold  ettect  of  producing  a  modulation,  and  of  giving  a 
lew  chord  formation. 

377.  How  many  new  chords  may  be  so  formed? 
There  are  only  live  which  may  be  met  with  in  practice. 

378.  What  is  an  Augmented  Triad  ? 

A  major  triad,  with  the  tit'tli  augmented. 

379.  Where  is  this  chord  found  as  a  fundamental  chord  uiithout  chro- 
matic alteration  ? 

It  is  a  fundamental  chord  when  founded  upon  the  mediant  of  a  minor  key. 

380.  Upoiu  what  tones  is  it  most  frequently  formed  ? 
Upon  Xh-i  Tonic,  Sub-dominant,  or  Dominant  of  a  major  key. 

381.  How  many  Inversions  has  thp.  augmented  triad  ? 

Like  the  major  triad  it  can  be  used  with  good  effect  in  both  inversions. 

382.  muit  Sevenths  may  be  emvloyed  ivith  the  augmented  triad  ? 
The  major  seventh  of  the  Tonic,  and  the  dominant  seventh  may  be 

added  at  pleasure.    Also,  in -rare  instances,  tiie  major  seventh  of  the  sub- 
ilominant  may  be  added. 

383.  ^^l>en  the  major  seventh  of  1  or  FV  is  added  to  the  augmented 
i>-iad,  which  member  of  the  following  chord  must  always  be  doubled? 

The  third. 

33-4.   What  is  (tn  Augmented  Chord  of  the  Sixth  ? 

A  cliord,  consisting  of  a  major  third  and  augmented  sixth. 

3.S3.  From  what  is  it  derived  ? 

From  the  chord  of  the  seventh  of  ii°  in  the  minor  key,  with  the  third 
altered  from  minor  to  major,  and  the  fundamental  omitted. 

38(i.  Which  inversion  of  this  seventh  chord  brings  the  augmenieiX 
chord  of  the  sixth  ? 

The  first  inversion. 


30  THEORY  OF  MUSIC.  [Book  L 

387.  Infourimrt  harmony,  whichpart  of  the  Auffmented  Sixth  Chord 
should  be  doubled  ? 

The  third. 

388.  How  is  the  chord  figured  ? 
It  is  figured  $6. 

389.  \VJiat  name  is  sometimes  given  to  the  augmented  sixth  chord  ? 
Some  theorists  call  it  the  Italian  sixth. 

390.  What  is  an  Augmented  Chord  oftlie  Sixth,  Fourth,  and  TJiird  ? 
A  chord  consisting  of  a  major  third,  augmented  fourth,  and  augmented 

sixth. 

391.  From  tchat  it  is  derived  ? 

From  the  chord  of  the  seventh  of  ii°  in  the  minor  key,  with  the  third 
altered  from  minor  to  major. 

392.  Which  inversion  of  this  seventh  chord  brings  the  Augmented 
Chord  of  the  Sixth,  Fourth,  and  Third? 

The  second  inversion. 

393.  How  is  it  figured  ? 

u 

It  is  figured  *. 

394.  \\-liat  name  is  sometimes  given  to  the  Augmented  Cliord  of  the 
Sixth,  Fourth,  and  Third  ? 

Some  theorists  call  it  the  French  Sixth. 

395.  What  is  an  Augmented  Chord  of  the  Sixth  and  Fifth  ? 

A  chord  consisting  of  a  major  third,  a  perfect  fifth,  and  an  augmented 
sixth. 

390.  From  what  is  it  derived  ? 

From  the  chord  of  the  seventh  and  ninth  of  \f,  in  the  minor  key,  with 
the  tliird  altered  from  minor  to  major,  and  the  fundamental  omitted. 

397.  WJiich  Inversion  of  this  seventh  and  ninth  chord  brings  the  Aug' 
mented  CJiord  of  the  Sixth  and  FifOi? 

The  first  inversion. 

Z^%.  Hon- is  it  figured?  ' 

It  is  figured  *|. 

399.  What  name  is  sometimes  given  to  the  Augmented  Chord  of  the 
Sixth  and  Fifth  ? 

Some  theorists  call  it  the  German  Sixth. 

-400.    What  othi'r  Chord  is  found  tit/  altering  fundamental  harmonies? 

A  very  useful  choi'd  may  be  derived  from  the  chord  of  the  seventh  and 
niiitli  of  iP,  of  the  iiiiiior  key.  Ity  ullerinij;  the  third,  fifth,  and  seventh, 
inakiiin  the  third  major,  the  fifth  perfect,  the  seventh  diminished,  ami 
omitting  the  fundamental. 

401.  \Mdch  inversion  of  this  seventh  and  ninth  chord  wiU  briiig  Ihtu 
new  chord  ? 

The  second  '\    ersion. 


Past  n.]  CATECHETICAL.  81 

402.  How  is  it  figured  ? 

H 
It  is  tiirured  Jf4. 
3 

403.  What  na?ne  is  proposed  to  give  this  cliord  ? 
The  American  Sixth.  * 

404.  mutt  is  a  Suspension  ? 

The  withholding  of  a  tone  which  is  proper  to  a  chord,  and,  in  its  stead, 
retaining  a  tone  from  the  preceding  chord,  thus  producing  a  momentary 
dissonance. 

405.  In  what  parts,  and  before  ichat  members  of  a  chord  may  a 
Suspension  be  employed  ? 

In  any  part,  and  before  any  interval  of  the  triad,  also  before  sevenths 
In  rare  cases. 

40G.  (Jan  Suspensions  occur  in  more  than  one  jxirt  at  the  same  time  ? 

Two,  or  three  parts  may  be  suspended,  called  double  and  triple  sus- 
pension. 

407.  ir/taOs  Anticipation  ? 

The  abandoning  of  a  tone  which  is  proper  to  a  chord  before  the 
metrical  division  leads  us  to  expect  it,  and.  in  its  stead,  taking  a  tone 
which  belong  to  the  succeeding  chord,  and  i-etaining  it  until  the  other 
parts  follow;  the  reverse  of  suspension. 

408.  Can  Anticipations  occur  in  more  than  one  part  ? 
Anticipations  may  occur  in  two  or  three  parts,  at  the  same  time. 
40'.t.    \Mtat  is  Organ-point,  or  Pedal-point  ? 

A  passage  in  which  tlieBase  sustains  the  Tonic  or  Dominant,  while  the 
other  parts  move  independently. 

410.  May  the  Organ-point  tie  taken  l>y  other  parts  tluin  the  Base  ? 

It  may  I)e  sustained  l)y  any  part;  but  when  such  tones  are  taken  by  the 
upijer  parts,  they  are  more  correctly  called  Stationary  Tones. 

411.  H7/rt^ /s  I't  Sequence  ? 

A  regular  succession  of  similar  harmonic,  or  melodic,  formations,  or 
phrases. 

412.  Of  what  does  a  Sequence  generally  consist  ? 

Of  a  chord,  thought,  or  phrase,  which  is  repeated  at  a  higher  or  lower 
pitch. 

413.  In  a  phrase  Sequence,  what  is  the  first  formula  called? 
The  figure. 

*  The  author  claims  the  original  classification  of  this  chord.  He  has  been  nuable 
to  find  it  in  the  works  of  any  other  antlior.  neither  it  is  mentioned  anion-?  the  altered 
chords  by  any  theorists,  so  far  as  he  has  been  able  to  find  by  dilifjent  research.  That 
it  is  correctly  built  is  acknowledged  at  once  by  all  theorists  with  whom  he  has  had 
the  opportunity  of  conversing.  The  proposition  to  call  it  tlie  .\nierican  sixth  meets 
with  geuei-al  favor,  being  suggested  by  the  names  Italian  sixth,  French  sixth,  German 
sixth,  and  Euglish  sixth  (this  la.st  nearly  obsolete):  see  page9ti. 

Although  very  useful  for  voice  leading,  it  is  seldom  met  with  in  practice,  for  the 
veasou  tiiat  no  theorist  has  heretotore  recognized  it,  or  alluded  to  it  in  any  way. 


32  THEORY  OF  MUSIC.  iBoos.  I. 

414.  JMiat  is  the  second  formula,  third  formula,  etc.,  called? 
The  first  repetition,  secoud  repetition,  etc. 

415.  What  are  Passing  T^nes? 

Tones  wliicli  are  foreign  to  tlie  liarinony,  and  which  are  used  in  pass- 
ing from  one  chord-tone  to  another. 

416.  What  are  the  distinctive  properties  of  Passing  tones? 

They  must  not  appear  at  tlie  same  instant  with  the  chord-tone,  but 
must  follow  it,  and  no  not  generally  progress  by  ski])s. 

417.  Tr//r/^  rt/-e  Changing  ToNE!^? 

Foreign  tones  which  enter  witli  the  harmony,  and  attach  themselves  to 
the  harmonic  tone. 

418.  What  are  the  distinct/re  properties  of  Chanoing  tones  ? 

They  can  progress  by  skips,  and  when  formed  beloW;  they  incline  to  the 
distance  of  a  minor  second  from  the  harmonic  tone. 

419.  What  are  Passing  Chords  ? 

Chord-formations  which  grow  out  of  a  combination  of  two  or  more 
passing  tones,  the  liarmonies  of  which  are  generally  too  transient  lor 
their  construction  to  be  recognized. 


PART     THIRD. 


HARMONY  AND  COMPOSITION. 

420.  TT7/e??  is  a  part,  or  chord,  said  to  remain  stationary  ? 
When  the  tone  or  chord  is  repeated. 

421.  When,  is  a  chord  said  to  progress  ? 

When  some  or  all  of  its  parts  move  to  other  tones,  and  thus  form  an- 
other chord. 

422.  W/iat  does  such  progression  involve  ? 
Motion. 

423.  How  manij  kinds  of  Motion  are  there,  and  what  are  they  called? 
Three;  contrary  motion,  oblique  motion,  and  similar,  or  parallej  motion. 

424.  When  are  tivo  parts  said  to  move  in  contrary  motion  ? 
When  one  ascends,  and  the  other  descends. 

425.  When  are  two  parts  said  to  move  in  similar,  or  parallel, 
motion  ? 

When  they  ascend  or  descend  together. 

426.  When  are  two  i)arts  said  to  more  in  ot^lique  motion  ? 

When  one  part  ascends  or  descends,  and  the  other  remains  stationary. 

427.  What  is  the  first  great  Law  o/ Progression  ? 

Eacli  part  should  move  to  that  tone  in  the  next  chord  which  occasions 
llip  least  motion. 

428.  IfV^^^;  IS  the  second  great  Law  of  Progression  ? 

If  the  two  chords  contain  a  mutual  tone,  the  part  which  sings  it  in  the 
first  cliord  should  sing  it  in  the  next  chord. 

421).    Wliat  is  such  mutual  tone  called  ? 

Tiie  ))indlng  tone. 

4j0.  How  should  the  t)imling  tone  be  indicated  ? 

By  connecting  the  two  notes  with  a  tie. 

4:il.  What  tone  is  mutual  in  the  chords  of  the  Tonic  and  Super- 
tonic  ? 

Tiiey  have  no  mutual  tone. 

4:>2.   Wliat  tones  are  mutual  m  the  chords  of  the  Tonic  ami  Mediant  ? 

Tiie  third  and  tifth  of  the  Tonic  chord  are  always  the  fundamental  and 
third  of  ih',!  cliord  of  the  Mediant. 


84 


THEORY  OF  MUSIC.  [Book  I. 


433.  Wiat  tone  is  mutual  in  the  chords  of  the  Tonic  and  Siib- 
dominant  ? 

The  fundamental  of  the  Tonic  chord  is  always  the  fifth  of  the  Sub- 
dominant  chord. 

434.  What  tone  is  midual  in  the  chords  of  the  Tonic  and  Dominant  ? 
The  fifth  of  the  Tonic  chord  is  always  the  fundamental  of  the  Dominant 

chord. 

435.  What  tones  are  mutual  in  the  chords  of  the  Tonic  and  Sub- 
mediant  ? 

The  fundamental  and  third  of  the  Tonic  chord  are  always  third  ajid  fifth 
of  the  Sub-mediant  chord. 

436.  What  tone  is  mutual  in  the  chords  of  the  Tonic  a)id  Sub-tonic  ? 
They  have  no  mutual  tone.  * 

437.  What  is  the  third  great  law  of  progression? 

Two  perfect  fifths  must  not  occur  consecutively  between  the  same  parts. 

438.  What  is  the  fourth  greed  law  o/ progression? 

Two  perfect  octaves  must  not  occur  consecutively  between  the  same  parts. 

439.  What  is  the  rule  for  avoiding  consecutive  faults  ? 
Make  the  offending  part  move  in  contrary  motion. 

440.  What  is  the  rule  for  the  progression  of  the  leading  tone  ?  (See  280. ) 
It  should  ascend  a  minor  second. 

441.  If  the  base  moves  a  second  or  a  third,  how  should  the  ui>2^er  three 
'parts  move  ? 

If  they  cannot  remain  stationary,  they  should  move  in  contrary  motion. 

442.  Between  the  Sojirano  and  Base  what  motion  is  generally  prefer- 
able ? 

Contrary  motion. 

443.  Why  does  the  second  inversion  of  the  triad  require  more  careful 
treatmeid  than  the  first  ?  (See  questions  337  and  342  inclusive.) 

Because  in  the  second  inversion  of  tlie  cliord.  the  interval  of  a  perfect 
fourth  takes  on  the  character  of  a  dissonance,  which  weakens  the  efiecl. 

444.  Does  the  interval  of  a  fourth  generally  bear  the  character  of  a 
dissonance"! 

,     Never,  except  when  it  stands  over  against  the  base,  as  iu  the  ^  cliuni. 

445.  Is  this  the  case  with  real  dissonances  ? 

It  i.s  not ;  they  alwaj'S  retain  their  dissonant  character. 

44(5.    When  is  the  |  chord  most  effective  ? 

When  it  is  foriiicd  upon  tlic  Tonic,  Dominant,  or  Sub-dominant,  enters* 
ii|)i)n  an  acccntiMl  pul.sc,  cillicr  free  or  as  a  suspension,  and  resolves  into 

the  ^  ciiord  of  the  tone  which  forms  the  base. 

•  Tuo  learner  hIiouUI  ik^w  coiiiijare  tlie  clionl  of  tlif  Supcrtonii;  wifli  all  otli'" 
chords,  and  point  out  the  mutual  tonew,  tin  ii  pioiMed  the  same  way  with  the  clionla 
yf  the  Mediant,  Sub-dominant,  Dominant,  S\il)-niedlaiit,  and  Hub-tonic. 


f  ART  m  i  CATECHETICAL.  35 

■947.  /".  what  other  manner  is  it J'requentljj  employed? 

\s  a  passing  chord  upon  an  unaccented  pulse. 

t-18.    W'nit  trutds  most  frequently  2)recede  the  ^  chord? 

The  triad  of  IV  or  of  11.  (See  300  and  302.) 

4t9.   Where  is  the  |  chord  most  freqently  found  ? 

In  formations  of  the  Close.  (Cadences.) 

450.  Why  is  it  paHicidarly  effective  in  modulations  ? 

Because,  in  entering  upon  the  accented  pulse,  it  instantly  produces  the 
feeling  of  a  modulation. 

451.  In  what  other  way  is  the  ^  chord  employed  ? 

As  a  suspension;  in  which  case  the  fourth  is  always  prepared. 

452.  When  does  the  2  chord  appear  at  greatest  disadvantage? 
AViicn,  with  prepared  base,  it  enters  on  an  accented  pulse. 

453.  When  is  a  part  said  to  resolve  properly  ? 
When  it  progresses  according  to  its  natural  tendency. 

454.  What  is  tlie  proper  resolution  of  augmented  intervals? 
Upward. 

455.  mmt  is  the  proper  resolution  of  diminished  intervals  ? 
Downward. 

45(i.  Should  augmented  or  diminisJied  intervals  be  doubled  ? 
They  should  not. 

457.  Why  not  ? 

Because,  being  dissonances,  they  have  a  determined  resolution,  and  if 
doubled,  and  both  parts  properly  resolved,  consecutive  octaves  would 
result;  and  if,  to  avoid  the  consecutive  fault,  one  of  the  parts  is  made  to 
move  contrary  to  its  natural  tendency  the  effect  is  still  worse. 

458.  WJiat  is  the  smoothest  way  of  approaching  and  leaving  the  chord 
oftlie  Super-tonic  ?  (See  300.) . 

Approach  it  from  the  Sub-dominant,  and  leave  it  through  the  second 
mversion  of  the  Tonic. 

459.  What  is  the  smoothest  ivay  of  approaching  and  leaving  the  chord 
of  the  Mediant  ?  (See  301.) 

Approach  it  from  the  Dominant,  and  loa\*e  it  through  the  Tonic. 

4(j0.  What  is  (he  smoothest  way  of  approaching  and  leaving  the  Sub- 
dominant?  (See  302.) 

Api)roach  it  from  the  Tonic,  and  leave  it  through  the  second  inversion 
of  the  Tonic. 

461.  Wliat  IS  the  smoothest  imy  of  approaching  and  leaving  the  Dom- 
inant ?  (See  303. ) 

Approach  it  from  the  Tonic,  and  return  to  the  Tonic. 

402.  117;/;^  is  tht'  smoothest  way  of  approaching  and  leaving  the  Snb- 
mediant  ?  (See  304.) 

-*l)l)roach  it  from  the  Tonic,  and  leave  it  through  the  Sub-dominant. 


THEORY  OF  MUSIC.  [Book  I. 

463.  W/ia(  is  (lie  smoothest  way  of  approaching  and  leaving  (he  chord 
of  the  Sxb-tonic  or  leading  tone  ?  (See  305.) 

Approach  it  from  the  Tonic,  and  return  to  the  Tonic. 

464.  Wliat  is  the  resolution  of  the  cJiord  of  the  Sub-tonic  ? 

Its  fuudanieutal  being  the  leading  lone,  must  ascend  a  minor  second; 
its  fifth  being  diminislied,  nmst  descend  a  minor  second;  its  thu'd  is  free. 

465.  To  what  harmony  does  it  invariably  resolve  ? 
To  the  Tonical  harmony. 

466.  Whe/(  ((re  parts  said  to  be  icritten  or  played,  in  close  havTUOny  ? 
When  the  highest  three  parts  are  all  written  within  the  compass  of  one 

octave,  so  that  they  may  be  played  with  one  hand. 

467.  When  are  parts  said  to  be  written  or  played  in  dispersed  har^ 
mony  ? 

^Vhen  they  are  so  arranged  that  the  interval  between  the  base  and  tb-? 
soprano  is  about  equally  divided  by  the  tenor  and  alto. 

468.  ///  dispersing  harmony  what  is  the  rule  for  separating  the  parts  ' 
Not  more  than  an  octave  should  intervene  between  any  two  contiguous 

parts,  except  the  base  and  tenor. 

469.  }\7ien  is  a  dissonance  said  to  be  prepared  ? 

When  it  appears  as  a  consonance  in  the  preceding  chord,  and  is  taken 
by  the  same  part,  so  that  it  can  be  connected  Ijy  a  tie. 

470.  ^V^iat  are  the  rules  for  the  progression  of  the  cliord  of  the  Domi- 
nant seventh  ?  (See  345  to  356.) 

The  seventh  descends  one  degree ;  the  third,  being  the  leading  tone  of 
the  key,  ascends  a  minor  second;  the  fundamental  and  fifth  are  free. 

471.  Into  what  harmony  does  it  generally  ?-esolve  ? 
Into  Tonical  harmony. 

472.  Into  irhat  other  harmony  may  it  resolve  ? 

The  Dominant  seventh  of  a  major  key  may  resolve  into  the  Tonical  har- 
mony of  the  relative  minor  key:  and  the  Dominant  seventh  of  a  minor 
key  may  resolve  into  the  harmony  of  IV  of  the  relative  major  key;  other 
resolutions  are  possible,  but  not  as  usual. 

473.  Of  whatpeculiar  resolution  is  the  dominant  seventh  chord  ca/udjle-^ 
One  seventh  chord  may  resolve  into  another,  and  that  into  a  third,  etc- 

474.  The  third  in  version  of  the  dominant  seventh  chord  ( | )  necessarily 
resolves  into  wJuit  chord  ? 

Into  the  first  inversion  of  the  Tonic. 

475.  Are  there  exceptions  to  the  rule  that  the  interval  of  a  seventh  must 
descend  one  degree  ? 

There  is  one  exceiHion.  viz.  :  in  the  .second  inversion  of  the  chord  : 
when  the  .seveutli  is  in  liie  soprano,  ami  liie  cliord-resoives  to  Die  first  in- 
version of  the  Tonic,  tlie  seventli  may  ascend  willioul  i)rodncing  a  bad 
eflect. 

476.  Are  there  other  ccceplional  treatuients  (fthe  interval  of  seventh  ? 
Tliere  are;  it  may  be  abandoned  entirely;  it  may  also  be  transferred 


paetui.]  catechetical.  37 

from  oiiP  part  to  aiiotlier,  wliPii  tlic  clionl  is  iviwatpd;  in  which  case  the 
l»ail  tliat  has  it  last  must  he  respuiisiljle  for  its  correct  resolution. 

477.  If  it  s/ioiii'l  heroine  xeccssori/  to  omit  an//  of  the  to/ien  o/the  Domi- 
HKiit  serentli  chunl  ii'lml  tones  con  lie  s/i(trei/  liest  ? 

Tiie  octave  of  tiie  fuinUimeiital  tirst,  the  tifth  next,  and,  in  extreme 
cases,  tlie  tliird  may  be  dispensed  with. 

478.  What  is  the  especial  use  of  the  Dominant  seventh  chord? 

It  is  especially  useful  in  cadence  formations,  and  in  determining:  the 
Key  in  modulations. 

479.  HoiV  does  it  point  to  the  key  in  modulated  jiassages  ? 

No 'other  chord  is  built  like  it,  (major  3rd,  perfect  5th,  and  minor  7th,) 
its  fundamental  is  always  five  of  some  key,  and  having  found  five  it  is 
easy  to  determine  the  Tonic. 

480.  What  rules  govern  the  resolution  of  the  several  invei-sions  of  the 
Dominant  seventh  chord  ? 

The  same  rules  that  govern  the  direct  form,  the  seventh  descends  one 
degree,  the  third  ascends  a  minor  second,  the  fundamental  and  fifth  are 
free. 

481.  Does  (he  Dominant  seventh  require  a  jjreparation  ? 
Not  necessarily. 

482.  Hon'!  is  the  chord  of  the  seventh  of  ii,  i}i  the  major  mode,  most 
frequentl//  employed?  (See  356.) 

In  its  first  inverted  form. 

483.  Wlien  thus  used,  what  name  was  formerly  given  to  it  ? 
The  Ecclesiastical  chord. 

484.  WJiy? 

Because  it  is  peculiarly  adapted  to  church  harmonies. 

485.  ^Mlat  is  the  resolution  of  the  chord  of  the  seventh  of  VTi°,  in  the 
major  mode  ?  (See  356.) 

Its  fundamental  being  ihe  leading  tone,  ascends  a  minor  second;  its 
seventh  descends  one  degree;  its  fifth,  being  diminished,  descends  a  minor 
second,  and  its  third  is  free. 

486.  In  -what  position  should  this  chord  always  be  used  ? 
With  Uw,  seventh  in  the  soprano. 

487.  Hoip  can  consecutive  fifths  he  avoided  between  the  third  and 
seventh  ? 

By  either  doubling  the  third  of  the  tonic  chord,  (which  is  most  usual.) 
or.  by  causing  the  thint  of  tlie  seventh  chord  to  descend  five  degrees. 

488.  Does  rhis  serenfh  rei/nire  /treporation  ? 
Not  always. 

489.  Hoa-  does  (he  chord  of  the  seventh  of  if  in  the  minor  mode,  differ 
from  that  ofwv  in  the  mirjor  mode? 

Only  in  the  resolution  of  its  fundamental  tone,  which,  being  no  longer 
ihe  leading  tone,  is  free. 


38  rHEORY  OF  MUSIC.  [Book  I. 

490.  Into  what  hcwmony  does  it  most  frequently  resolve  ? 

Into  Dominant  harmony  the  fifth  and  seventh  descend  a  minor  second, 
the  fundamental  moves  to  the  Dominant,  (either  up  or  down, )  and  the 
tiiird  ascends  one  degree. 

4!)1.  What  is  the  jirimary  resolution  of  the  chord  of  the  seventh  o/vii° 
in  the  minor  mode  ?  (See  356.) 

Its  seventh  and  fifth  descend  one  degree,  its  fundamental  ascends  one 
degree,  and  its  third  is  fi-fee. 

492.  ^V}lat  is  this  chord  sometimes  called  ? 
The  equivocal  chord. 

493.  For  what  reason  ? 

Because  it  does  not  point  to  any  particular  Tonic,  and  is  capable  of  a 
great  variety  of  resolutions. 

494.  Which  inversion  of  this  chord  is  least  satisfactory  ? 
The  third  inversion. 

495.  How  can  thts  chord  be  converted  into  a  dominant  seventh  chord? 
There  are  four  principal  ways ;  First,  one  of  its  members  may  descend 

a  half-step,  Vvhile  the  others  remain;  (SVco»(/,  three  of  its  members  may 
ascend  a  half-step,  wliile  the  other  remains;  Third,  three  of  its  membei's 
may  descend  a  half-step,  while  one  descends  a  whole  step;  and  Fourth. 
three  of  its  members  may  ascend  a  whole  step,  while  one  ascends  a  half- 
step. 

496.  WJiat  other  peculiar  progression  can  he  formed  vrith  this  chord? 
All  its  tones  may  be  made  to  descend  a  half-step,  thereby  forming  an- 

otlier  similar  chord,  which,  in  its  turn,  can  be  resolved  the  same  way, 
and  so  on  indefinitelj'. 

497.  Does  the  Seventh  in  this  chord  require  a  jjre^yaration  ? 
It  does  not. 

498.  What  is  the  Resolution  of  the  chord  of  the  Ninth  ?  (see  364.) 
The  ninth  descends  to  the  eighth,  when  the  chord  becomes  a  chord  of 

the  Dominant  seventh,  and  is  resolved  accordingly;  or  the  chord  of  the 
ninth  may  resolve  directly  to  the  Tonical  harmony. 

499.  W7iat  rule  should  be  borne  in  mind  when  v.sing  chords  of  the 
Ninth  ? 

The  fiiiidaniental  tone  and  ninth  .should  be  kept  nine  degrees  apart. 

500.  What  is  the^ progression  of  the  Augmented  Ctiord  ?  (See  378  to 
383.) 

Its  fundamental  remains  stationary,  or  descends  five  degrees;  its  thii'd 
may  ascend  a  minor  seconil,  or  remain  stationary;  and  its  fifth  ascends  a 
minor  second. 

501.  Do  these  rules  apply  to  the  inversions  also? 
They  do. 

502.  Wliat  is  the  resolution  of  the  Italian  Sixth  ?  (Augmented  Chord 
of  the  Sixth,  see  384  to  389.) 

It  resolves  to  tlie  Dominant  hannonv:  the  fundamental,  foriiiiiial  tliinl.  5 


Part  III.]  CATECHETICAL.  .  39 

descends  a  minor  second,  the  augmented  sixth,  ascends  a  minor  second, 
the  third  descends  a  minor  second,  or  ascends  one  degree. 

503.  Which  member  of  this  chord  may  he  doubled  in  four  part 
harmonies  ? 

Tho  third  only.     (The  original  fifth.) 

504.  Are  the  inversions  of  this  chord  generally  used? 
They  are  not. 

505.  What  is  the  progression  of  the  French  Sixth?  {Augmented 
Chord  of  the  Sixth,  Fourth,  and  Third,  see  390  to  394.) 

Its  fundamental,  (original  fifth,)  descends  a  minor  second;  the  third, 
(original  seventh,)  descends  a  minor  second;  the  fouflh,  (original  funda- 
mental.) remains  stationary,  and  the  sixth,  (original  third,)  ascends  a 
minor  second. 

506.  Are  the  inversions  of  this  chord  generally  used  ? 
They  are  not. 

507.  Kow  does  the  French  Sixth  compare  as  regards  its  usefulness 
with  the  other  Augmented  Sixth  Chords  ? 

It  is  considered  inferior  to  either  of  them. 

508.  What  is  fh«  progression  of  the  German  Sixth  ?  (Augmented 
C'iord  of  the  Sixth  and  Fifth,  see  395  to  399.) 

It  has  two  resolutions.  Isf.  The  third  and  fifth  remain  stationary,  the 
fundamental  descends  a  minor  second,  and  the  sixth  ascends  a  minor 
second,  thereby  forming  a  ^  chord  of  the  minor  Tonic,  which  resolves  im- 
mediately to  the  Dominant;  and,  2nd,  the  fundamental  descends  a  minor 
second,  the  third  remains  stationary,  the  fifth  and  sixth  ascend  a  minor 
second;  thereby  forming  a  ^  chord  of  the  major  Tonic. 

509.  What  other  resolutions  are  sometimes  found  ? 

It  is  sometimes  resolved  directly  to  the  Dominant,  in  which  case  open 
fifths  can  be  avoided  only  by  a  pre-resolution  of  the  fifth:  a  fine  eft'ect  can 
also  lie  produced  by  converting  this  chord  into  a  chord  of  the  diminished 
.seventh,  l>y  causing  the  fundamental  to  ascend  one  half-step. 

510.  Are  the  inversions  of  this  chord  generally  used  ? 
They  are  not. 

511.  What  is  the  progression  of  the  American  Sixth  ?  *  (See  400  to 
403.) 

Its  fundamental  descends  a  minor  second,  its  third  remains  stationary, 
its  fourth  and  sixth  ascend  a  minor  second. 

512.  Is  this  the  only  resolutioti  ? 
It  is. 

513.  Are  the  inversions  of  this  chord  generally  used  ? 
They  are  not. 

*  The  author  claims  the  original  classification  of  this  chord,  concerning  which  see 
marginal  note  on  page  31. 


THEORY  OF  MUSIC.  [Book  1. 

514.  \V}iat  is  Modulation? 
Passing  from  one  key  into  another. 

515.  W/iat  may  be  called  the  point  of  Modulation  ? 

The  point  when  the  home-feeling,  or  Tonic,  seems  to  have  taken  a  new 
position. 

516.  0(C)i  this  shifting  of  the  Tonic,  or  home-feeling,  take  place  with- 
out the  use  of  tones  which  are  foreign  to  the  first  key  ? 

It  can;  whenever  the  tones  of  a  key  are  so  arranged  that  their  relations 
have  changed,  and  have  centered  around  a  new  Tonic,  modulation  has 
taken  place. 

517.  How  IS  this  change  of  Tonic  usually  effected  ? 
By  use  of  tones  which  are  foreign  to  the  ruling  key. 

518.  What  two  chords  form  the  chief  ineans  of  Modulation  ? 
The  dominant  seventh  and  chord  of  the  diminished  seventh. 

519.  Why  are  these  chords  better  for  that  purpose  than  others  ? 
These  two  are  never  to  be  mistaken,  while  all  others  are  ambiguous. 

520.  Uoiifare  the  other  chords  ambiguous  ? 
They  can  belong  to  several  diflerent  keys. 

521.  Whe)i  an  ambiguous  chord  is  used  us  a  means  of  modulation, 
how  are  we  to  recognize  the  new  key  ? 

By  the  succeeding  chords. 

522.  ^VIl(lt  is  the  simjilest  and  most  natural  conclusion  ichich  Wb 
arrive  at  when  a  foreign  tone  or  chord  is  introduced  ? 

That  it  belongs  to  the  key  which  is  nearest  related  to  the  ruling  key. 

523.  What  keys  are  nearest  related  to  the  principal  key  ? 

Tlie  key  of  its  parallel  major  or  minor;  and  of  its  Dominant  and  Sub- 
dominant,  together  with  their  parallels. 

524.  Should  a  key  which  is  brotight  about  by  modulation  be  used  as 
thefimd  key  oj  a  composition  ? 

It  should  not;  a  composition  should  en<l  in  the  key  in  which  it  com- 
mences. 

525.  Should  a  composition  ever  end  in  an  inversion  ? 
It  sliould  not.     The  final  chord  should  always  be  direct. 

526.  What  was  the  custom  of  the  old  composers  with  regard  to  the 
fiyial  chord  ? 

They  went  .so  far  as  to  say  that  all  compositions,  whether  major  or 
minor,  should  end  with  the  major  triad. 

527.  How  does  this  fact  effect  our  later  opinions  ? 

When  a  nnnor  comi)osition  closes  with  the  plagal  cadence,  it  is  still 
usual  to  end  with  a  major  triad. 

528.  What  was  such  ending  formerly  called  ? 
Tierce  di  Picardi.* 

♦  Picardi  was  the  province  in  Europe  where  this  effect  was  first  used. 


.'ART  m.]  CATECHETICAL. 

529.  JVIiat  IS  the  ohject  of  susjjensions  ?  (See  404.) 
A  closer  bimli-ng  of  cliords. 

530.  When  does  swli  hinding  fake  plnre? 

Wlien  the  progression  of  one  or  more  tones  of  a  clionl  is  dehiyed  until 
tlie  others  have  formed  the  component  parts  of  the  following  cliord. 

531.  Wliat  are  the  three  essential  j)oints  to  be  considered  in  a  sxspen- 
g'on  ? 

Its  preparation,  entrance,  and  resolution. 

532.  Through  xchat  tones  of  a  chord  may  the  preparation  takeplncf  ? 
Tlirough  either  of  the  component  parts,  or  the  dominant  seventh. 

533.  Upon  which  pulse  should  the  preparation  take  place? 
The  unaccented  pulse. 

^34.   Upon  which  pulse  should  the  suspension  entei'  ? 
The  accented  pulse. 

535.  When  is  it  said  to  resolve  properly  ? 

Wiien,  uiton  an  unaccented  pulse,  it  takes  its  place  in  the  reigning 
•jiiord. 

536.  May  the  tone  which  is  delayed  by  a  suspension  be  taken  by  any 
other  j)arl  ? 

By  no  part  except  the  base,  and  then  there  must  be  at  least  an  octave 
between  them. 

537.  Do  suspensions  remove  the  effects  of  consecutive  octaves  orffths  » 
They  do  not. 

538.  Before  what  members  of  the  triad  may  suspotsions  take  iilace  ? 
Before  tiie  fundamental  and  the  third  always;  the  fifth,  in  certain  posi- 

•.ions,  and,  in  rare  instances,  the  seventh. 

539.  Must  the  chord  which  accompanies  the  suspension  always  remain 
until  the  suspended  tone  resolves  ? 

Not  necessarily ;  it  may  progress  to  any  possible  harmony  which  con- 
tains a  lone  that  will  resolve  the  suspended  tone. 

540.  flow  many  kinds  of  suspensions  are  there,  and  what  are  they 
i-alled:' 

Two;  suspensions  from  above  and  suspensions  from  below. 

541.  What  further  peculiarities  has  the  SHS2)ension  ? 

One  or  more  tones  may  be  taken  ])etween  the  suspension  and  the  res- 
olution. Also  tlie  part  wliich  has  tlie  suspension  can,  iimnediately  after 
tlie  resolution,  pass  through  several  chord-tones  while  the  remuiuing 
tones  of  tlie  chord  are  sustained. 

542.  Mliat  is  a  C.\denge  ? 

The  end  of  a  musical  tliought  or  expression. 

543.  Row  many  kinds  of  cadence  are  there,  and  xchat  are  their  names  ? 
Six  ;  tlie  jierfect  cadence,  the  iiiiperfoct  cadence,  the  half  ciidence,  the 

plagal  cadence,  the  deceptive  cadence,  and  tlie  suspended  cadence. 


42  THEORY  OF  MUSIC.  [Book  1 

544.  What  conditions  are  necessary  for  the  formation  of  a  perfect 
cadence f 

The  final  chord  must  be  Tonical  harmony  with  the  fundamental  in 
both  base  and  soprano,  preceded  by  the  Dominant  harmony. 

545.  What  is  an  imperfect  cadence  ? 

The  same  as  a  perfect  cadence,  except  that  the  soprano  in  the  last 
chord  rests  upon  the  third  or  lifth,  instead  of  tlie  fundamental. 

546.  What  is  a  half  cadence  ? 

One  ill  wliicli  the  final  chord  is  the  chord  of  Five,  preceded  by  the 
diord  of  0^E  or  Four. 

547.  What  is  a  plag(d  cadence  ? 

One  in  which  the  last  chord  is  the  chord  of  One,  preceded  by  the  bar 
mony  of  Four. 

548.  What  is  the  Plagal  cadence  sometimes  called  ? 
The  Ecclesiastical  cadence. 

549.  Why  ? 

Because  it  is  peculiarly  adapted  to  church  music. 

550.  Wliat  is  a  deceptive  cadence  ? 

One  in  wliicli  the  harmony  of  Five,  instead  of  resolving  to  the  harmony 
of  One,  as  we  expect,  resolves  into  some  other  harmony,  thereby  deceiv- 
ing our  expectations. 

551.  What  is  a  suspended  cadence  ? 

One  ill  wliich  the  harmony  of  Five  is  prolonged,  or  suspended,  until 
the  base  has  talcen  its  final  position  upon  tlie  Tonic,  on  an  accented  pulse 
of  the  last  measure. 

552.  What  general  rule  should  be  followed  in  the  formation  ofajmlal 
passage  ?  (organ  point,  see  409. ) 

Tlie  harmony  of  the  pedal-tone  sliould  commence  the  passage,  frequent- 
ly make  its  apjiearance  tlirougliout,  and  finally  conclude  the  whole 
thought. 

553.  Wliat  tones  are  best  adaj)ted for  remaining  stationary? 
The  Tonic  and  Dominant. 

554.  Are  they  ever  sustained  together  ? 
They  are. 

555.  IIow  should  the  of  tier  three  paris  be  arranged? 

So  tiiat  tiiey  will  form  a  complete  and  correct  three-part  composition, 
\;upal)lo  of  good  effect  if  heard  alone. 

556.  Which  of  the  three  'parts  assumes  control  of  the  three-part  har- 
lUDuy  ? 

Tlie  lowest,  regardless  of  the  sustained  tone,  even  if  it  should  some- 
times hi'long  (o  tiie  same  harmony. 

557.  If  figures  are  useA\  to  indicate  the  harmonic  progression  of  an 
organ-point,  from  which  part  are  they  reckoned  ? 

From,  and  with  direct  reference  to,  the  sustained  tone;  thereby  fre- 
quently altering  the  usual  mode  of  figjirinij. 


pabtiil]  catechetical.  43 

55S.  If  the  organ-point  stands  upon  the  Dominant  which  cadence 
must  be  avoided  ? 
The  Plagal  Cadence. 

559.  If  the  sustained  tone  be  taken  by  an  upper  or  middle  voice,  what 
will  it  be  necessary  to  guard  against  ? 

It  will  be  necessary  to  guard  against  the  too  frequent  use  of  harmonies 
whicli  are  foreign  to  the  sustained  tone. 

560.  For  what  reason  ? 

Because  such  upper  voices  do  not  possess  the  power,  which  is  peculiar 
io  the  base,  of  counterbalancing  the  foreign  harmony. 

561.  How  many  kinds  of  sequences  are  there,  and  what  are  they  calU 
fc/."  (See  411.) 

Two;  chord  sequences,  and  phrase  sequences. 

562.  WJuit  is  a  chord  sequence  ? 

One  in  which  two  or  more  chords  follow  each  other  in  a  similar  har- 
rpoiiic  manner. 

663.  Informing  asymmetrical  chord  sequence,  tchat  is  it  necessary 
to  observe  ? 

That  the  parts  should  move  by  similar  intervals;  and  each  part,  if  taken 
alone,  g.hould  be  regular  and  self-consistent — and  that  the  sequence  should 
extend  over  at  least  four  successive  accents. 

564.  Wliat  is  a  phrase  sequence  ? 

One  In  which  a  phrase  is  repeated  at  a  higher  or  a  lower  pitch. 

565.  Are  the  rules  for  j^rogression  as  binding  i/i  the  formation  of  se- 
quences, as  in  other  cases  ? 

They  are  not. 

566.  W7iy  not  ? 

Because  our  musical  perceptions  suffer  more  from  lack  of  symmetry, 
than  from  lack  of  pure  harmonic  progression. 

567.  When  do  covered  or  hidden  fifths  and  octaves  take  place  ? 
When  two  parts,  starting  with  different  intervals,  move  in  simikM"  mo- 
lion  to  a  tifth  or  octave. 

568.  Wliy  are  they  disagreeable  ? 

Because  our  perceptions  naturally  sujjply  all  intermediate  tones  over 
whicii  the  parts  pass,  and  which,  if  written  out  in  full,  wOuid  n-A\\\\.  iu 
open  consecntives. 

509.   Under  what  circumstances  are  they  allowafjle  ? 

If  tiie  upper  part  moves  only  one  degree. 

570.  Li  such  cases  how  can  they  be  made  less  objectionable  ? 

If  one  or  both  the  other  parts  move  in  contrary  motion,  or  remain  sta- 
tionary. 

571.  Under  what  other  circumstances  are  they  allowable  ? 

When  the  base  moves  one  degree,  and  the  chorda  are  bound  together 
t>y  a  seventh. 


THEORY  OF  MUSIC.  [Book  1. 

572.  May  covered  octaves  pass  over  a  mtnor  seventh  ? 
Thej-  may  not. 

573.  Are  covered  fifths  and  octaves  in  the  middle  voices  as  objectiona- 
ble as  in  outer  voices  '.' 

Thej'  are  not. 

574.  Are  covered  fifths  and  octaves  between  a  middle  and  outer  voice 
as  objectionable  as  in  outer  voices  ? 

They  are  not. 

575.  MMiat  is  a  safe  rule  in  such  cases  ? 

Avoid  covered  fifths  and  octaves  as  much  as  possible. 

576.  What  is  an  unhannonic  cross-relation  (false  relation  ?) 

It  is  an  arrangement  wliereby  a  tone  wliich  is  sung  by  one  voice  is,  in 
the  next  chord,  chromatically  altered  and  given  to  another  voice;  as  C  in 
soprano  of  one  chord,  and  CS  in  base  of  next  chord. 

577.  ^Vhat  is  the  rule  for  their  avoidance  ? 

Chromatic  alterations  of  a  tone  should  appear  in  the  same  part  ■which 
contained  the  unaltered  tone. 

578.  Are  there  exceptions  to  this  rule? 

There  are :  so  many,  in  fact,  that  some  theorists  discard  the  doctrine  ol 
cross-relations  enth-ely. 

579.  Mention  a  list  of  progressions  which  can  be  safely  used  by  beiji/t' 
tiers  ? 

Tonic  to  Dominant. 

Tonic  to  Sub-dominant. 

Tonic  to  Sub-mediant. 

Supertouie  to  Tonic. 

Supertonic  to  Sub-mediant. 

Supertonic  to  Domiuant. 

Supertonic  to  Sub-loiiic. 

Mediant  to  Dominant. 

Mediant  to  Sub-mediant. 

Mediant  to  Tonic. 

Sub-dominant  to  Tonic. 

Sub-dominant  to  Dominant. 

Sub-dominant  to  Supertonic. 

Dominant  to  Tonic. 

Dominant  to  Sub-mediant. 

Sub-mediant  to  Suli-dominant. 

Sub-mediant  to  Tonic. 

Sub-mediant  to  Dominant  (certain  positions). 

Sub-mediant  to  Supertonic. 

Sub-tonic  to  Tonic. 

Sub-tonic  to  Dominant  seventh. 


Past  HI.]  CATECOETICAL.  4(5 

580.  Mention  a  list  of  rules  for  tlie  guidance  of  beginners  in  writing 
musii'  '.' 

First;  if  a  part  caunot  remain  stationary  it  should  move  to  the  tone  in 
the  next  chord  which  occasions  the  least  niDtion. 

S'cond;  give  to  each  voice  a  smooth  and  phnisant  melody. 

Third ;  the  inner  parts  should  move  as  little  as  possible. 

Fourth ;  if  the  base  moves  a  second,  third,  or  lifth,  the  other  parts  should 
move  in  contrary  motion,  if  possHjle. 

Fifth ;  a  composition  should  end  with  the  Tonic  triad  of  the  key  in 
wliich  it  commenced. 

Sixth ;  do  not  use  harsh  and  unmelodious  steps,  such  as  augmented 
intervals,  major  sevenths,  etc.,  etc. 

Seretith  ;  keep  constantly  in  mind  the  compass  of  the  several  voices, 
neither  write  too  high  nor  too  low. 

Eijhfh  ;  if  a  Ijold.  loud,  or  l>rilliant  effect  is  desired,  lead  the  voices  up 
to  the  higher  tones. 

Ninth ;  if  a  solemn,  mournful  and  dirge-like  efl'ect  is  to  be  produced, 
\»'rite  so  as  to  keep  tiie  voices  upon  the  lower  tones. 

Tenth  ;  do  not  use  two  progressions  of  a  fourth  or  fifth  in  the  same  di- 
rection, especially  in  the  base. 

Eleventh  ;  never  use  two  successive  chords  in  their  second  invereion. 

Ticelfth  ;  contrary  motion  is  preferable  to  parallel  motion  between  so- 
lera no  and  base. 

Thirteenth ;  in  arranging  the  different  parts,  coml)ine  parallel,  oblique, 
and  contrary  motion  as  much  as  possible. 

FoartemUh  ;  avoid  a  too  frequent  use  of  inversions;  also  a  too  frequent 
use  of  direct  forms  ;  but  rather  mingle  them  ingeniously. 

Fifteenth;  Avoid  a  too  frequent  use  of  the  same  chord. 

Sixteenth ;  avoid  too  many  remote  or  abrupt  modulations  or  tran.sitions, 
as  they  not  only  produce  a  vague  and  undecicled  etlect,  which  is  unpleas- 
ant, but  tend  to  confuse  the  singer. 

Serenteenth ;  avoid  a  too  frequent  use  of  the  same  cadence. 

581.  TFZte/i  a  scale  passage  occurs  in  the  /jttse  how  should  it  be  accom- 
pa /lied? 

Chords  should  be  written  only  on  thi'  chief  accents. 


-♦—♦►- 


PA  RT     FOURTH. 


■«>> 


FORM. 

582.  Of  what  does  Form  treat  ? 

The  science  of  Form  treats  of  the  shape  or  structure  of  a  composition) 
as  distinguisiied  from  tlie  material  of  wliich  it  is  composed. 

583.  What  is  a  tone-chain  ? 

A  succession  of  tones  regulated  by  the  laws  of  rhythm. 

584.  What  is  an  ascending  tone-chain  ? 
One  which  progresses  from  low  to  high. 

585.  What  is  a  descending  tone-chain  ? 
One  which  progresses  from  high  to  low. 
58G.    What  is  a  vague  tone-chain  ? 
One  which  both  ascends  and  descends. 

587.  ^\^lat  is  the  ejfect  produced  l>y  an  ascending  tone-chain  ? 
That  of  elevation,  exaltation,  tension. 

588.  miat  is  the  effect  oj  a  descending  tone-chain  ? 
That  of  relaxation. 

589.  What  is  the  effect  of  a  vague  tone-chain  ? 

Neither  of  tension,  nor  relaxation;  ))Ut  with  a  certain  indecision  tt  ma> 
partake  of  botii.     However,  in  a  general  way  it  may  Ijelong  to  either. 

590.  miat  is  n  rhuthmicaJ  tone-chain  ? 

One  in  which  the  time  is  well  regulated  by  strong  and  weak  pulses. 

591.  \Miat  is  a  rhi/thinical  and  mdodical  tone-chain  called'/ 
A  melody. 

592.  What  is  the  foundation  of  all  melody  ? 
The  Diatonic  Scale. 

59:'».    Hon;  is  the  diatonic  scale  divided  ? 
Into  repose  and  motion. 

594.  What  is  the  jwmt  of  repose  > 
The  Tonic,  either  one  or  eight. 

595.  \\7iat  is  motion  '' 

All  that  is  not  Tonic  ;  2,  3,  4,  5,  6  and  7,  together  with  all  intermediate 
tones. 

596.  What  is  a  design  ? 

It  is  the  germ  out  of  which  growa  the  entire  period. 


pabtiv.]  catechetical.  47 

597.  How  many  tones  must  it  contain  f 
Two  or  more. 

598.  When  is  a  design  said  to  be  transformed  f 

When,  being  repeated,  it  assumes  some  different  form,  but  Is  still  to  be 
recognized  as  the  same  general  design. 

599.  How  many  priiicipal  ways  are  there  of  transforming  a  design, 
and  7vhaf  are  they  called  ? 

Eleven,  viz.:  1st,  Transposition;  2d,  expansion;  3d,  contraction;  4th, 
augmentation;  5th,  diminution;  6th,  repetition  of  fragments:  7th,  omis 
sion;  8th,  changing  the  order  of  tones;  9th,  reversing  the  order  of  tones; 
10th,  combining  members  of  different  designs;  and,  Ulh,  iuversiou. 

600.  Wlien  is  a  design  said  to  be  transposed  f 
When  it  is  repeated  at  a  higher  or  lower  pitch. 

601.  ^V7len  is  a  design  said  to  be  expanded  ? 
When  it  is  made  up  of  larger  intervals. 

602.  When  is  a  design  said  to  be  contracted  9 
When  it  is  made  up  of  smaller  intervals. 

60.3.   VHien  is  a  design  said  to  be  augmented  ? 
When  the  time-value  of  each  note  is  douljled. 

604.  ^Vhen  is  a  design  said  to  be  diminished  ? 
When  the  time-value  of  each  note  is  diminished. 

605.  ^Vhen  are  the  fragments  of  a  design  said  to  be  repeated? 
When  the  design  is  enlarged  and  remodelled  by  the  repetition  of  ita 

memliers  or  fragments. 

606.  Wfien  is  the  design  said  to  be  incomplete  by  omission  ? 
When  one  or  more  of  its  memljers  or  fragments  are  omitted. 

607.  ^V^len  is  the  order  of  tones  changed? 

When  the  tones  are  introduced'in  a  different  order,  without  altering  the 
rhythm. 

608.  WJien  is  the  order  of  tones  reversed  ? 

When  the  design  is  taken  backwards,  from  the  end  to  the  beginning, 
witiiout  altering  the  rhythm. 

609.  What  is  the  result  of  combining  members  of  different  designs  ? 
A  great  variety  of  new  designs  may  be  thus  formed. 

610.  mien  is  a  design  said  to  be  inverted  ? 

Wlien,  commencing  upon  the  same  tone,  it  moves  in  an  opposite  dl- 
faction 

611.  Mat,  several  of  these  modes  of  transformation  be  combined? 
They  may;  for  instance,  a  design  maybe  transposed  and  contracted; 

transposed  and  expanded;  transposed  and  inverted;  transposed  and  re- 
versed; transposed,  inverted  and  contracted;  transposed,  inverted,  con' 
traded  and  reversed,  etc. 

612.  WJiat  is  a  Passage  ? 

A  series  of  designs  which  have  no  well-marked  reposa 


|g  THEORY  OF  MUSIC.  [BOOK  1. 

613.  What  is  a  Phrase  ? 

A  series  of  desigus  so  joined  as  to  have  a  well-determined  motion  and 
repose  ? 

614.  \Vhat  is  a  Period  ? 

A  series  of  plirases— usually  four -eacli  having  a  well-defined  motion 
and  repose,  so  related  to  each  other  as  to  produce  the  impression  of  com- 
pleteness. 

615.  How  may  pariols  bi  d>.vi'lei  ? 

Into  two  equal  portions  called  sections ;  the  sections  into  halves  called 
phrases:  the  phrases  into  halves  called  motives. 

616.  Ill  iJie  formation  of  periods,  wiiut  (jeneral  'principle  sJiould  be  in- 
voiced ? 

The  first  phrase  should  l)e  so  built  as  to  excite  expectation  in  our  minds? 
which  should  be  only  partially  answered  by  the  second  phrase,  thus  lead 
ing  to  a  reiteration  in  the  third  phrase,  and  a  final,  complete  and  satisfac- 
tory conclusion  in  the  last. 

617.  TJiat  which  excites  expectation  is  called  what  ? 
Thesis. 

618.  That  which  replies  to  thesis  is  called  what? 
Antithesis.  '     • 

619.  W/iat  kind  ofmxsic  is  usuallij  written  in  this  form  ? 
All  single  church  tunes  or  chorals. 

620.  Wliat  is  this  form  called? 
'iTie  soNG-FORM  of  ouc  period. 

621.  Maij  tliii  song  form  have  more  than  one  j^sriod? 

It  may;  there  are  song-forms  of  two  periods,  and  song-forms  of  three 
periods. 

622.  How  is  the  song  form  of  two  periods  constructed?  ? 

The  second  period  generally  begins  with  a  new  design,  which  actuates 
Its  first  two  plirases.  while  the  last  two  phrases  bind  the  whole  by  reiter- 
ating the  spirit  of  the  first  period. 

623.  ^Iiat  kind  of  music  is  generally  written  in  the  song-form  of  two 
periods  ? 

All  double  church  tunes,  and  many  of  the  popular  songs  and  ballads. 

624.  How  is  the  song  form  of  three  2Kriods  constructed  ? 

The  second  period  generally  makes  a  more  decided  digression  from  the 
first,  to  which  it  returns  in  a  very  complete  manner  in  the  tninl  period. 

625.  W'of  kindof  music  ts  generatfy  irrifien  in  the  song-form  of  three 
periods  ? 

Most  of  who:  are  called  songs  with  chorus:  the  third  i)eriod  usually 
takes  the  form  o.  a  chorus  which  contains  the  animatin:;  design  of  the  song.  * 


*pf  course  we  liave  reference  only  t'l  niuBic  which  is  written  by  musical  scholars. 

It  i«  a  matter  of  iniicli  refjret  that  a  iai-^^e  amount  of  the  music  of  the  present  day, 

both   in  Europe  and  America,  is  written  by  persons  who  may  have  some  indefinite 

.•eas  about  melody, — but  who  know  very  little  coBceriiiiiy  Hjumouy,  and  positively 

twtbiu{(  at  all  of  Fori 


Past  IVJ  CATECHETICAL.  49 

626.  JV/iat  kinds  of  instrumental  music  (ire  icritten  in  fhisjorm  .' 
The  Cotillon,  Reel,  Jig,  Horapipe,  etc.    The  Fauiluago  iu  Mozart'a 

Fi'jaro  is  a  good  illustration. 

627.  What  is  the  AppJied  Sijug-Fonn? 

A  composition  consisting  of  two  or  more  melodies,  (or  song-forms,)  so 
related  as  to  form  one. 

628.  Wmt  is  the  first  melody  called? 
The  Theme. 

629.  What  is  the  second  melody  called  ? 
Trio.  * 

630.  WliatfoUows  the  Trio  ? 
The  Theme. 

631.  How  does  the  Trio  'preserve  its  relation  to  the  Theme  f 

By  being  in  a  nearly  related  key,  and  by  retaining  the  same  tempo. 
C32.   Wlad  should  be  the  character  0/  the  Trio  as  compared  with  the 
TJieme  ? 
It  should  be  of  a  more  mild  and  quiet  character  than  its  Theme. 

633.  la  what  way  shoahl  Theme  and  Trio  be  related? 

If  the  Theme  were  in  F  minor,  the  Trio  should  be  either  In  B3  minor, 
C  minor,  F  major,  or  D[2  major.  If  the  Theme  were  in  F  major,  the  Trio 
would  be  either  in  F  minor,  D  minor,  Btj  major,  or  Dt  unijor,  etc 

634.  What  kind  of  music  is  usually  written  in  this  form  ? 

Polkas,  Schottisches,  Quicksteps,  most  Marches,  and  the  several  move- 
ments of  Quadrilles,  as  well  as  a  large  majority  of  parlor  pieces  for  plana 

635.  ^VJlat  is  Couxterpoist? 

The  name  applied  to  the  art  of  writing  music  in  parts,  t 

636.  WJiat  is i)lain  Counterpoint? 

A  plain  counterpoint  is  one  having  a  uniform  rhythmic  movement  of 
one  note  for  each  note  of  the  melody,  called,  -'note  against  cote,")  or 
two  notes  to  one  of  the  melody,  or  "three  against  one,"  or  "four  against 
one,"  which  movement  is  maintained  throughout  the  period. 

637.  What  is  Florid  Counte^^point  ? 

A  florid  counterpoint  is  one  not  having  a  uniform  rhythmic  movement 

638.  Row  is  Counter  point  f>  I  rther  divided  ? 

Into  Double  counterpoint,  Triple  counterpoint.  Quadruple  coonterpoint, 
and  Manifold  counterpoint. 

639.  WJiat  is  a  double    Counterpoint? 

A  composition  in  which  two  equally  important  par*'*  must  be  so  ar- 


*  Wherever  the  word  Trio  is  used  throughoTit  tlie  department  of  .^brm,  it  signifleR 
A  certain  portion  of  a  corupositiou,  and  has  no  reference  whatever  to  Its  nsnal  siguifi- 
oation  of  triphonic  harmony. 

t  Counterpoint  and  Harmony  work  from  different  stand-points.  In  harmony  the 
chief  object  is  to  furni.sh  a  satisfactory  succession  of  chords;  couiitfri)oint  has  refer 
ence  to  securing  a  flowing  movement'of  the  separ.ite  voice-parts.  In  Cotint«rpoint  i 
melody  is  takeu^twhich  is  caUed  canim  Jirmus,)  to  which  one  or  more  flowing  vol-  c- 
parts  is  added,  the  part,  or  parts  so  added  being  called  the  "  Counterpoint." 


60  THEORY  OF  MUSIC.  [Book  1 

ranged  that  the  inversion  of  their  order,  ( L  e.  the  lower  part  placed  above 
the  other, )  does  not  etlect  the  correctness  of  their  mutual  relations. 

64:0.  What  is  Triple  Qounterpoint,  Quadru2)le  Counterpoint,  and 
Manifold  Counterpoint  ? 

Au  arrangement  whereby  three,  four,  or  more  parts  are  so  constnictfd 
that  any  one,  or  all  of  them,  may  be  inverted  without  causing  incorrect 
relations. 

6J:1.  What  is  a  Fugue? 

The  Fugue  is  a  composition  in  two  or  more  parts;  a  phrase,  which  is 
called  the  Subject,  appears  first  in  one  part,  and  then  proceeds  to  another 
part,  then  to  a  third  and  fourtli,  etc. 

642.  Explain  the  Counter-Subject  ? 

The  part  which  has  just  given  out  the  Subject  continues  its  song,  while 
the  Subject  is  being  performed  by  another  part;  and,  such  continuation 
IS  called  Counter-Subject. 

643.  What  is  the  Response  ? 

It  is  the  repetition  of  the  Subject,  note  for  note  in  the  key  of  the  Domi- 
nant. 

644.  What  is  the  meaning  oj  Stretto  ? 

Stretto  is  an  Italian  woril,  signifying  near  or  chse. 

645.  Kcplain  its iwesent  use? 

If  the  Suljject,  which  begins  in  one  part,  is  taken  up  immediately  by 
one  or  more  other  parts,  so  as  to  be  heard  in  two  or  more  parts  at  the 
Bame  time,  such  construction  is  called  a  Stretto. 

646.  Wiat  peculiar  changes  in  form  do  the  themes  oj  Fugues  some- 
times undergo  ? 

They  are  sometimes  written  in  Augmentation,  i,  e.  in  notes  of  double 
their  original  value;  sometimes  in  Diminution,  i.  e.  in  notes  of  half  their 
original  value;  and  sometimes  in  Inversion,  /.  e.  where  it  originally  as- 
cended, it  now  descends,  and  vice  versa. 

647.  What  islunxrioH^ 

Tile  repetition  of  a  phrase  or  period  already  given  in  another  voice- 
part. 

648.  M\'?iat  are  the  chief  varieties  of  Imitation  ? 

Free  imitation,  Strict  imitation,  and  imitation  in  contrary  motion. 

64!).  Iloin  arc  these  explained  ? 

In  free  imitation  the  melodic  progressions  of  the  original  phrase  are  not 
strictly  repeated;  intervals,  upward  or  downward,  are  imitated  l)y  similar 
progressions,  )mt  not  always  of  the  same  distance;  for  instance,  an  up- 
ward progression  of  a  nvijor  second  may  be  imitated  by  an  upward  pro- 
gression of  a  minor  second;  a  major  tliird  by  a  minor  third;  a  fourth  by 
a  .sixth,  etc.  Strict  imitation  repeats  tlie  exact  melodic  progression  of  the 
original  phrase.  In  imitation  liy  contrary  motion,  upward  progressions 
are  imitated  by  downward  ones,  and  vice  versa. 


PvBT  IV.]  CATECHETICAI  52 

fjoO.   W/iat  is  a  Canon  ? 

A  Canon  is  a  composition  in  whicti  two  or  more  parts  are  introfluced, 
one  after  the  otlier,  and  proceed  togetlier  in  equal  time,  eacli  imitating 
tl)e  one  before  it,  note  for  note,  so  that  all  parts  have  the  same  melody 
from  beginning  to  end.     Canon  is  strict  imitation. 

651.  W/>at  is  a  Ooiun  in  Uttison  ? 

One  in  which  all  the  following  parts  commence  upon  the  same  tone. 

652.  Wliat  IS  a  Canon  in  Octave  ? 

One  in  which  the  following  parts  begin  an  octave  higher,  or  lower  than 
the  first. 

653.  Wliat  is  a  Canon  of  the  Second,  TInrd,  Fourth,  Fifth,  etc.  ? 
One  in  whicli  the  following  parts  begin  at  tho  interval  of  second,  third, 

fourth,  fifth,  etc.,  froi  i  the  tone  upon  wiiich  the  first  started. 

654.  W/iat  is  a  mixed  Canon  ? 

One  in  whica  the  several  parts  begin  at  difi"ereut  intervals. 

655.  What  is  a  strict  Canon  ? 

One  in  which  all  the  laws  are  strictly  observed. 

656.  \V7iat  is  a  free  C/(no/i  ? 

One  in  which  a  deviation  from  the  rules  is  necessary.  One  in  which 
the  melody  in  the  first  part  is  not  strictly  followed  throughout. 

657..  What:.  /.-■Rondo? 

A  higher  devcbpment  of  art-work,  in  which  the  various  materials  are 
so  woven  together  as  to  form  a  continuous  web;  the  foundation  of  all  Ait 
Forms. 

658.  In  how  many  forms  is  the  Hondo  divided  ? 
Into  five  forms. 

659.  Ilmi)  is  the  First  Hondo  Form  constructed  ? 

It  has  a  Theme,  consisting  of  two  or  more  periods,  followed  by  a  Pas- 
sage, (or  a  long  succession  of  short  phrac  s  in  several  kej's,)  and  closes 
with  the  Theme  and  Conclusion  made  up  of  motives  taken  from  the 
I'Jieme  or  tlie  Passage. 

660.  What  is  the  plan  of  the  First  Rondo  Form  ? 
•Theme,  Passage,  Theme,  Conclusion. 

661.  Iloic  is  the  Second  Rondo  Form  constructed  ? 

It  has  a  principal  Theme,  which  is  followed  by  a  secondary  Theme  in 
a  new  key,  (called  an  Episode,*)  after  which  the  Theme  re-appears,  and 
the  whole  closes  with  a  Conclusion. 

662.  What  is  the  plan  of  the  Second  Rondo  Form  ? 
Theme,  Episode.  Theme,  Conclusion. 

663.  IIoiv  is  the  Tliird  Rondo  Form  constructed  ? 

It  has  a  Theme,  followed  by  an  Episode  in  another  key,  after  which  the 

*  Dr.  Marx,  speaking  of  the  Second  Rondo  Form,  says,  ''  The  leadiug  from  the 
Theme  to  the  Epieode,  (by  means  of  a  Passage,)  is  mostly  unnecessary,  and  the  leading 
bacli  is  rare." 


52  THEORY  OF  MUSIC,  [Book  I. 

Theme  is  repeated;  then  a  Second  Episode  iii  the  relative  key,  closing 
with  the  Tht^iiie  and  Conclusion. 

G(J4.    What  IS  the  jdon  of  the  Tliird  Rmdo  Fcnn  ? 

Theme,  1st  Episode,  Theme;  2d  Episode:  Theme  and  Conclusion. 

665.  How  is  the  Fourth  Bonds  Form  vonstruc/ed  ? 

The  Tlienie,  first  Episode  and  Tlieme  are  quite  closely  combined. 
Tliese  are  followed  by  the  second  Episode,  which,  in  order  to  counterbal- 
ance the  i)recedlnii-,  is  constructed  with  enijihatic  completeness,  while  the 
whole  is  united  by  a  recapitulation  of  the  Theme  and  first  Episode. 

(iG6.    ]]7iat  is  the  plan  of  the  Fourth  Rondo  Form  ?  .     ■ 

Theme,    l.-t  Episode.    Theme;    2d    Episode;  Tlieme,  l.-t    Episode;  to 

^^ , '      "~ ^        -v ^ 

which  is  sometimes  addeil  a  Conclusion. 

(J67.  How  is  the  Fifth  Rondo  Form  constructed  ? 

The  Theme  and  first  Episode  are  followed  by  a  decided  and  extended 
Conclusion,  all  of  which  are  usually  repeated;  the  second  Episode  alone 
forms  a  distinct  portion  of  the  work:  after  which  appears  theTbe'!'.\  fiist 
Episode  and  Conclusion. 

668.    mud  is  -he  plan  of  the  Fifth  Rondo  Form  ? 

It  has  three  wea  ^-ounded  and  distinct  divisions,  firmly  united  by  a  cen- 
tral idea,  the  Th3me;  viz.:  Theme,  1st  Epi-sode,  Conclusion;  2d  Episode; 

Tlieme.  1st  Episode,  Jooc!usiou. 
■^ ' 

069.    ^^llat  is  a  Jor.xiNA ." 

A  Sonatina  is  a  w(>rk  ^^.  two  or  three  different  movements,  eacli  a  com- 
plete rondo  of  itself,  yet  so  united  that  we  instinctively  perceive  them  to 
belong  together. 

670.  ^^ltat  is  a  fci>.»«"ATA ." 

A  Sonata  is  a  work  consisting  of  thre.-^  .r  four  movements,  one  of  which 
is  u.sually  slow.  In  sonatas  of  four  mr,\emeiits,  the  third  is  more  fre- 
quently a  Scherzo,  or  Minuet,  with  Trio      (Applied  Soi^-  Form.) 

671.  What  IS  n  ?>\:ty-E  ? 

The  Suite  is  a  form  cons-sting  of  several  movements  -upually  five— de- 
vi.sed  by  Phillip  Emanuel  Bach,  and  practiced  e.xtensiveiy  'o   Handel,  and 
oilier  writers  of  that  period:  outof  this  form  grew  the  rjui-ata.     The  Sui»e 
has  lately  been  revived  by  Ratt". 

672.  ]Miat  is  an  Overture  ." 

The  Overture  is  an  orchestral  composition  of  one  uiovement,  mostly  iu 
the  Sonata  or  Sonatina  form  ;  and,  as  its  name  Lmpli'<^s,  is  used  as  vu 
opening  to  an  Oratorio.  Opera.  Concert  or  Drama. 

67:3.    ]\7iat  IS  Ciia.mber  Musk:  .• 

Duos,  trios,  quartets,  quintets,  sextets,  septets,  and  octets,  written  for 
striniied  iii.struments,  or  for  jiianoforte,  and  other  instruments. 

674.    \\7taf  is  the  form  of  ChiunOer  3fiisic  ? 

Classic  chamber  music  is  all  iu  the  sonata  form.     There  exists,  howev- 


PabiIY.]  C  ATHCHETICALi  53 

sr,  many  modern  compositions  in  the  suite  form,  designed  for  light  com- 
binations of  instruments;  such  as  the  potpourri,  fantasia,  etc. 

675.  \V7i(tt  is  a  Symphony  ? 

The  Symphony  is  a  composition  in  tiie  Sonata  Form ;  but,  being  written 
for  the  full  powers  of  a  large  orchestra,  it  is  usually  constructed  upon  a 
large  and  massive  plan.  It  g'^nendly  consists  of  an  Introduction,  Allegro, 
Andante,  Scherzo,  and  Fniale,  ^ach  of  which  is  more  fully  developed  than 
is  necessary  m  the  Sonata. 

676.  What  is  a  Concerto  ? 

The  Concerto  is  a  composition  of  three  movements  in  the  Sonata  Form, 
in  which  one  instrument,  or  several  concerting  instruments,  perform  the 
principal  parts,  accompanied  by  an  orchestra. 

677.  TT'Virt^  w  o  Concertino ? 

A  small  Concerto,  limited  to  two  movements 

678.  What  is  a  Nocturne  ? 

The  Nocturne  is  a  composition  in  variable  form  (usnally  a  variety  ol 
the  Song-Form,)  for  piano  or  other  instruments;  and,  as  its  name  implies, 
has  a  character  which  accords  with  the  calmness  of  a  beautiful  night.  Oj: 
a  quiet  evening. 

6#9.    ]\^iat  IS  a  Fantasia  ? 

The  Fantasia  is  a  composition  for  a  solo  instrument,  which  is  not  bound 
by  any  particular  form.  Keys,  modulations,  arrangement  of  forms,  iu 
short,  everything  is  surrendered  to  the  composer's  fancy. 

680.    What  is  a  Capriccio  ? 

The  Capriccio,  or  caprice,  is  a  composition  sometimes  in  the  Sonata 
Form,  sometimes  in  the  Rondo  Form,  and  Sometimes  assuming  the  unbri- 
dled license  of  the  Fantasia.  ■» 

6P1.   W/ia(  is  (he  Polonaise  or  Polacca,? 

A  composition  in  |  measure,  usually  in  the  Rondo  Form,  having  tLiS 
rhythm  of  the  Polish  dance,  from  whicii  it  has  taken  its  name. 

682.  W/iat  is  a  Mazurka? 

A  Pc  ish  national  dance,  or  the  music  which  accompanies  it;  its  cbar- 
acteristic  rhythm  is:  o 

683.  Wh/tf  IS  a  Redowa  ? 

A  slow  and  graceful  dance  tune.  1  :  ?  rae'C:;  re:  its  characteristic 
rnythm  is: —  o 

684.  miat  is  a  Polka  ? 

A  dance  tune,*  originally  in  |  measure,  ..'  characteristic  riijthm  ot 
which  is  as  follows: —  .-, 

*  Cierwinski  fjives  the  following  interesting  account  of  the  origin  of  the  Polka. 
"  Somewhere  abcuit  the  yrar  1S31.  a  younfr  peasant  girl,  (vho  was  in  the  service  ot  ft 


54  THEORY  OF  MUSIC.  [Book  I. 

685.  WTiat  is  a  Schottische  ? 

A  dauce  tune  similar  to  the  Polka,  but  somewhat  slower,  of  which  the 
followiug  is  the  characteristic  rhythm  :— 

i  J3  J^  J    J  I 

686.  mia(  is  a  Waltz? 

A  composition  in  triple  measui'e,  for  a  circular  whirling  dauce,  its  usual 
rhythm  is — 


687.   \V7iat  is  a  Quickstep? 

4  "'   8 


orJ2\J   J\J   J2\J   J\J 


A  lively,  spirited  march  in  |  or  2  measure. 


688.  W7ia(  is  a  March? 

A  piece  of  music  designed  or  fitted  to  accompany  and  guide  the  move- 
ment of  troops:  its  rhythm  is:— 

r=  I  I     ra  1     na  i  j     ra  1 1 

m.  m  I  m      m.  m  m      m.  m  \  m      m.  m  m  \ 

689.  Wliat  is  a  Potpourri  ? 

A  mehui'je  of  different  airs,  or  melodies,  strung  together;  A  medley: 
It  has  no  deliuite  form  whatever. 

690.  Wliat  is  a  Galop  ? 

A  quick  dance  tune,  generally  in  |  measure. 

691.  What  is  <i  GAUOVADzt 

A  quick  German  dance  tune;  a  Galop. 

692.  Wiat  is  a  Fandango? 

A  lively  Spanish  dauce  tune,  in  ^  or  |  measure,  much  resembling  the 

English  Horn-pipe;  it  is  usual  to  beat  the  time  with  castanets.  The  fan- 
dango was  brought  from  Guinea  by  the  negroes  into  the  West  Indies, 
and  thence  into  Spain. 

693.  Mliat  is  a  Hornpipe? 

An  animated  dance  tune,  which  takes  its  name  from  the  instrument 
formerly  played  during  its  performance.  Tiie  instrument  called  the  Horn- 
pipe, is  common  in  Wale-s,  where  it  is  called /('''-co/'/*.  It  consists  of  a 
wooden  pipe  with  a  horn  at  each  end,  and  holes  at  stated  distances. 
Horn-pipe  music  is  supposed  to  be  of  English  invention,  and  was  origin- 
ally written  in  ^  measure. 

citizeu  of  Elbeteiuitz,  perforincd  a  dauce  of  her  own  iuveutiou,  cue  afternoon,  for 
her  own  especial  delectation,  and  sang  a  suitable  tune  to  it.  The  schooluiaeter.  Jo- 
seph Neruda,  who  happene<l  to  be  present,  wrote  down  the  melody,  and  the  new  dance 
was  soon  after  i)ublicly  ))erforuied  for  the  first  time  in  Klbeteinitz.  About  1835  it 
made  its  entrance  into  Prague,  and  tlien  obtained  the  name  of  I'olka,  from  the  Bohe- 
mian word  Puika.  or  half,  from  the  half-step  prevalent  in  it.  Four  years  later,  it 
was  carried  to  Vienna  by  a  Prague  liaud.  In  1840,  a  dancing  master  of  Prague  danced 
the  Polka,  with  great  success,  at  the  Odeon,  in  Paris,  whence  it  found  its  way  with 
extraordinary  rapidity  to  every  dancing  room." 

f  It  seems  to  me  that  the  name  must  have  been  a<loi)ted  because  the  dance  was  in- 
veuterl  by  a  woman,  as  the  word  polka  means  a  Polish  woman;  thus  Polha-jachrl.  a 
jacket  worn  by  a  woman,  etc.  All  names  of  Polish  gentlemen,  which  end  in  i  have 
their  corresponding  names  for  ladies  which  end  in  o;  for  example,  if  a  gentleman's 
Dame  be  Witcbowski,  bis  wife's  name  would  be  Witcbowska. — £o.] 


Fabt  IV.]  CATECHETICAL,  55 

694.  W7iat  is  a  JiQ^ 

A  light  brisk  tune,  generally  in  |  measure. 

695.  What  is  a  Reel? 

A  lively  dance  tune,  peculiar  to  Scotland.  It  is  generally  in  *  measure, 
but  sometimes  in  |.  The  Reel  is  characterized  by  a  reeling  or  whirU'ig 
motion. 

696.  What  is  a  Quadrille  ? 

A  French  dance,  consisting  of  a  set  of  five  consecutive  movements,  viz: 
'La  Pantalon;'  "La  Poule,"  "L'ete,"  "La  Trenise  ou  Pastourelle,"  and 
"La  Finale."    It  is  performed  by  four  couples  placed  in  quadrangular 
position,  hence  the  name  Quadrille. 

697.  WJiat  is  a  Cotillon  ? 

A  lively  animated  dance  tune,  generally  written  in  |  measure. 

698.  TF7/arwaScENA? 

That  portion  of  an  opera  called  a  scene.  The  terra  is  applied  by  the 
•Italians  to  a  portion  of  an  opera  comprised  in  any  one  entire  composition. 

699.  Wfiat  is  a  Canzonet  ? 

A  diminutive  of  canzone  ;  and  in  Italy  signifies  a  little  or  short  song  in 
one,  two,  or  three  parts.  In  England  it  is  applied  to  a  song  in  two  or 
f.hree  parts. 

700.  Wliat  is  a  CAYATiiiAl 

A  short  air  of  one  movement,  with  little  repetition  of  words,  and  which 
is  sometimes  preceded  and  relieved  by  a  recitative. 

70L    WJiat  is  a  Fanfare? 

A  short,  livelj',  loud,  and  warlike  piece  of  music,  composed  for  trum- 
pets and  kettle-drums;  also  the  name  of  a  lively  little  piece  performed  on 
'lunting  horns,  in  the  chase. 

702.  What  is  a  Cadenza  ? 

An  extempore  flourish  of  voice  or  instrument  at  the  end  of  a  period,  or 
phrase;  and  is  introduced  ad  lib.  by  the  performer.  It  should  partake  of 
the  general  character  of  the  piece,  be  sung  with  one  breath,  and  ended 
with  a  trill.  The  first  tone  is  generally  sung  loud,  and  held,  to  indicate 
its  introduction  to  the  accompanying  performers. 

703.  What  is  an  Etude  ? 

A  composition  which  is  intended,  or  may  serve  for  a  study.  It  differs 
from  the  Exercise  in  that  the  Etude  has  an  artistic  purport,  and  the  Exer- 
i:ise  has  not 

704.  Wliatr is  an  ArjaI 

An  acconipanied  song  for  a  solo  voice.  It  is  either  in  the  Rondo-Fonn, 
i)r  Sonata-Form,  but  with  the  second  part  abbreviated  or  omitted. 

705.  What  is  a  Recitative  ? 

It  is  a  song  which  does  not  take  the  form  of  a  melody,  neither  does  It 
'■unform  to  the  strict  value  of  notation,  nor  to  fixed  musical  rhythm ;  but 


56  -THEORY  OF  MUSIC.  [Book  I. 

strives  in  its  rhythm  and  succession  of  tones,  to  imitate  as  far  as  possible 
the  decianiutory  accents  of  speech.  It  has  no  determined  measure, 
although  it  is  usually  written  in  |  measure,  merely  to  assist  the  eye. 

70S.   What  eve  the  names  of  the  Ecclesiastical  Forms  of  vocal  music? 

Tlie  Chant,  the  Choral,  the  Hymn,  the  Sentence,  the  Anthem,  tlie 
llotette,  the  Cantata,  the  Mass,  and  the  Oratorio. 

707.  What  is  the  Chant? 

Tlie  most  ancient  and  simple  form  of  choral  music.  It  consists  of  words 
recited  to  musical  tones,  without  musical  measure. 

708.  TFZi^^ /a^  ^/ie  Choral? 

A  simple  sacred  tune  of  one  period,  (possibly  two, )  designed  to  be  sung 
in  unison  by  the  congregation,  as  an  act  of  divine  worship. 

709.  What  is  the  Hymn  ? 

A  song  of  praise  or  thanksgiving  to  God;  a  choir  Tune  of  one  or  two 
periods.  It  differs  from  the  Choral  in  that  it  is  intended  to  be  sung  by 
traineti  singers,  and  consequently  admits  of  more  elaborate  voice-relations; 
and  may  be  diversitied  by  tl;e  introduction  of  certain  phrases  for  Solo 
voices,  which  is  never  allowable  in  the  Choral. 

710.  What  is  a  Sentence  ? 

A  short  scriptural  text  set  to  music:  it  seldom  extends  beyond  one  or 
two  periods. 

711.  What  is  an  Akthem? 

A  composition  which  is  more  ola))orate  than  the  Sentence;  it  common- 
ly contains  several  )ieriods,  and  is  a  freer  setting  of  scriptural  texts.  It  is 
derived  from  the  G.-eek  word  antipho)i,  signifying  re.sponse.  Tlie  most 
ancient  form  of  churcii  music  was  the  Antipliony,  —  "  an  Anthem  sung 
alternately  by  a  clioir,  or  congregation,  divided  into  two  iDarts." 

712.  What  is  a  Motette? 

Tlier;'  are  two  kinds  of  Motette.  "The  llrst  takes  the  form  of  an 
fccicsiastical  Cantata,  consisting  of  several  separate  movements  of  diller- 
ent  forms,  such  as  solo,  trio,  chorale,  fugues,  etc.  The  second  is  a  choral 
composition,  (mostly  of  devotional  character.)  in  which,  after  a  cantabile. 
or  tigurated  introduction,  (or  without  it,)  a  fugai  theme  is  carried  th rough 
once,  then  a  second  time,  and  then  a  third  ti.ne,  and  finally  ends  with 
this,  or  the  introductory  movement,  or  with  r  separate  closing  j)hrase.'' 
I .  amloubtedly  should  have  r  place  lietween  i^e  Anthem  and  Cantata 
llowfvor  in  America,  It  Is  commonly  used  nk  synonymoas  with  Antnem. 

713.  What  is  a  Cantata  V 

An  extensive  composition,  comliining  rc'ltiitives,  iiir.s.  cliomses,  etc., 
ti\  wliich  different  feelings  and  circimistanci-s  of  lyrical  or  dramatic  inter- 
est are  represented  in  a  combined  form:  though  dramatic,  it  is  never  in- 
tended for  a  theatrical  performance  in  costume. 

714.  Wliut  /.s  a  MAas'' 

**Thc.  communion  service,  or  the  consecration  and  oblation  of  the  Host 


Paet  IV.l  CATECHETICAL.  57 

ill  the  Roman  Catholic  Churches."  High  Mass  is  that  which  is  sung  or 
chanted,  and  Low  Mass  is  tl\at  wliich  is  read.  Higli  Mass  usually  consists 
of  a  series  of  Choruses,  Solos,  Trios,  Quarti'ts,  t'tc,  twelve  iu  number, 
(alwaj'S  with  the  same  words,)  riz. :  Kyrie  Eleisou,  Gloria  in  Excelsis,  (in 
four  parts,  viz.:  Gloria,  Qui  Tollis,  Quoniuni,  and  Et  cum  Sancto  Spirito;) 
Credo,  (in  tliree  parts,  viz.:  Credo,  Et  iucarnatus,  and  Et  resurexit, ; — 
Sanctus,  Benedictus,  Agnus  Dei,  and  Dona  nobis  Facem. 

715.  W/iat  is  an  Oratorio? 

A  sacred  compositiou,  consisting  of  Arias,  Recitatives,  Duets,  Trios, 
•Jliuruses,  etc.,  witli  full  orchestral  acconipanimeuts.  The  subject  is 
generally  taken  from  ihe  Scriptures.  It  is  sung  and  recited  without  acilou 
or  any  of  the  adjuncts  of  theatrical  representation.  Originallythe  Oratorio 
was  a  sacred  opera,  but  scenery,  costume,  and  action  have  l)een  donti 
away  with,  and  it  has  been  elevated  to  a  dignity  commensurate  with  tlie 
character  of  the  sacred  events  it  portrays.  The  Oratorio  was  derived  from 
tlie  religious  tragedy  in  the  middle  ages,  of  whicli  it  presents  a  modified 
form.  Its  origin  has  generally  been  ascriljed  to  St.  Phiilipo  Neri,  who,  in 
15-10,  formed  the  celebrated  congregation  of  the  Oratory  in  Rome;  one  of 
tiie  o))ject3  of  which  was  to  deter  young  people  from  profane  amusements 
by  rendering  religious  services  as  attractive  as  possil  ile.  The  term  Oratorio 
has  been  loosely  applied  to  a  class  of  compositions  which  require  scenery, 
costumes,  and  acting  for  their  performance. 

716.  \Miat  are  the  names  of  the  secular  vocal  forms? 

The  Ballad,  the  Song,  the  Solfeggio,  the  Glee,  the  Madrigal,  the 
Olieretta,  the  Opera  BouflTe,  and  the  Grand  Opera. 

717.  What  is  a  Ballad? 

It  was  formerly  a  dancing  song,  (from  Italian  ballare,  to  dance,  hence 
the  word  "  ball,"  a  social  dancing  party.)  In  modern  usage,  however,  it 
is  a  popular  song,  cither  sentimental  or  a  narrative,  in  simple  stanzas, 
each  usually  sung  to  the  same  tune. 

718.  W/iat  is  a  Song? 

Song  IS  a  term  which,  in  a  general  sense,  covers  all  utterances  with 
musical  modulations  of  the  voice,  whether  of  the  human  voice  or  that  of  a 
l)ird.  It  is  more  usually  applied  to  a  simple  composition  of  one  or  two 
periods,  set  to  either  sacred  or  secular  words.  It  diflers  from  the  Ballad, 
[i.irticularly,  in  that  the  Ballad  is  never  set  to  sacred  words, 

719.  TTTfO^  c;9  a  Solfeggio  ? 

An  exercise  written  for  the  voice;  so  named  from  the  sj-llables  do,  re. 
Mil,  etc.,  which  are  applied  to  tlie  tones  of  the  key,  in  the  use  of  which, 
lioth  pronunciation  and  voice  are  cultivated  at  once. 

720.  TI7(a<  is  a  Vocalise  ? 

An  exercise  which  is  iiitende<l  to  be  practiced  with  vowels  entirely, 
ciuefly  the  vowel  a  (ah);  an  Etude. 

721.  \V7iat  is  a  GhEEl 

A  composition  for  three  or  more  voice.?,  generally  of  a  light  and  secuia*- 
cliaracter.     It  is  of  modern  Eui^lish  oriirin. 


THEORY  OF  MUSIC.  [BoOl  L 

722.  fVftat  is  a  Madrigal? 

A  more  elaborate  vocal  conjposition  than  the  Glee,  in  five  or  six  parts. 

723.  Uliat  is  an  Operetta? 

A  short,  light,  musical  drama ;  a  diminutive  Opera. 

724.  W/iai  is  an  Opera  Bouffe? 
A  comic  Opera. 

725.  What  is  a  Graxd  Opera? 

A  lyric  Drama.,  consisting  of  Airs,  Recitatives,  Choruses,  etc.,  enriched 
with  magnificent  scenery,  ai^d  other  decorations.  It  is  intended  to  ba 
performed  with  tragic  and  passionate  action. 

72G.    ^Mlaiis  ,,  Diet? 

A  piece  of  music  written  for  two  voices,  or  instruments. 

727.  ^Vhat^so  Trio? 

A  piece  of  music  written  for  three  voices,  or  instruments. 

728.  m>at  is  a  Terzetto? 

A  light  composition,  either  sacred  or  secular,  for  tliree  voices:  a  Trlc» 

729.  What  is  a  Quartet  ? 

A  piece  of  music  written  for  four  voices,  or  instruments. 

730.  \Miat  is  a  Qlintet? 

A  piece  of  music  wriueu  for  five  yoices,  or  justrumeuu- 


BOOK  SECOND: 


ILLUSTRATIONS. 


ILLUSTRATIONS  OF 


PART     FIRST 


\Tfiejignres  refer  to  (he  corresponding  questions  in  Part  /.,  Book  /.] 


Exaiaple  No    1. 
THE  STAFF. 


See  10. 


ADDED  LINES.  See  11. 


CLOSE.  See  23, 


Fif:h-line 

Fourth-;iDf- 

Third-line— 

Sfcon-l-line- 

First-line — 


^TouTtb  space 
Third  space  ___ 

_Second  space 

Firat  apace    


i 


Ex.  2. 


Ex.  3. 


-T^f- 


NOTES.     See  12  to  19,  iuclusive. 


=^: 


i:^: 


t- 


THE  DIATONIC  SCALE.     See  9. 


_^_i2Z3_^- 


-^_^- 


■imeral  names—  12         345  67887654SJ1 

vIHhIe  names—  Do,      Re,    Mi,      Fa,    Sol.  La,       Si,     Do.    Do.     Si.  La,    Sol,  Fa.    Mi,     Re,     Do. 

ronoonreJ—      Doe.    Ray,  Me«,  Fah,  Sole,  Lah,  See,  Doe,  Doe,  See,  Lah.  Sole.  Fah,  Mee,  Ray.  Doe. 
errant  names—  C,        D,      E,       F,      G,        A,        B,    C,      C,      B,      A,      G.    F,      E,      D,      C. 


ii:x.  4. 


MEASUEES  AND  BARS      See  20  to  25. 

Bar.  Double  Bar.  Bar. 


1 

1 ' 

-, 

.^, 

M 



Ex.  5. 


DOUBLE  MEASURE.     See  26. 


-N--?s— N N- 


53-5:^ 


— I- 


Ex.  6, 


TRIPLE  MEASURE.     See  27. 


~?s_ 


-:t- 


-- N N— 

— I ! ^- 


62 

Ex.  7. 


THEORY  OF  MUSIC. 
QUADRUPLE  IIEASURE.    See  28. 


[Book  1L 


^i^=^^ 

-t  -f^   ^-  ^ 

-Sf >& — 

— s> 

Ex.  8. 


SEXTUPLE  MEASURE.     .See  29. 


t" — 0 — # — 0 — 0 — 0 — *   -     1^ 0 ^        0 Gf—. — rfS--^ 


-^  j-^  ,- 


Ex.  9. 


^ 


^Z±3"^' 


COMPOUND  TRIPLE  MEASURE,     ^ee  30. 


s— >.- 


i 


Ex.  10. 


COMPOUND  QUADRUPLE  MEASURE.     See  31. 


=F¥7 


H ^ 


-N- 


feE*J 


Ex.  1 1 .  DIAGRAMS,  (.See  32  to  38,) 

Showing  the  motions  of  the  hand  in  the  various  kinds  of  measure. 


DOUBLE.  TMPLE. 


QUADHUPLE. 


SEXTUPLE, 


H4^/?fe 


Ex.  12. 


THE  FRACTION.     .See  4G 


-^— ^— 2— 4r— K— a— ^— 8— ^— 8—  W — -ef — 


Ex.  13. 


J. 

THE  SLUR.     .S'ec  50. 

/i 

1        , 

. 

4               .       i       1 

!         1       ^       ' 

<J 

6 

' 

■     S     -     J 

:J-#— h. 

_    4 

,     J__  > 

•     ,       •     * 

-« 

u^ 

Hal 


Ex.  14. 


le    -    -  lu    -    -  jail !        A men. 

THE  TIE.    5ee  51. 


-v-#- 


--I       *       '-       w — ' ' 

• —         -       < — ' 


Hur  -  rah  I  Hur  -   rail!        Ovir    glo-rious  land     is       freel 


i^AKT  I.] 


ILLUSTRATIVE. 


63 


Ex.15.        RESTS,  WITH  THEIR  CORKESPONDING  NOTES.    See  5Z  to  61. 

Whole  Note  Hftlf  Note  Quarter  Note  Eighib  Note  Sixteenth  Note  Thirty-second  Note 

and  rest.  a&d  rest.  and  rest.  and  rest.  and  rest.  and  rest 


m 


-tS>- 


J=S=i  :=r^-^=  ^i: 


0 ^- 


Ex.  16. 


G  Clef. 


CLEFS.     See  69  to  77. 
F  Clef.  ^^ 


C  Clef. 


i 


^ 


Ex.  17. 


=9=; 


THE  F,  OR  BASE  CLEF.     See  73. 

The  itsual  compass  of  Base  voices.  Middle  O. 


Ex.  18. 


THE  C,  OR  TENOR  CLEF.     See  75. 
The  usual  compass  of  Tenor  voices. 


G         D        E 


Middle 

A        B        C        D        E        F        G 


Ex.  19- 


m 


F   G 
THE  G,  OR  ALTO  AND  SOPRANO  CLEF,  ^ee  71. 

The  usual  compass  of  Soprano  voices. 


Ex.  20. 


^ — 0 — • — Z. 1 3 


— Middle  - 

C- 

-*- 

The  usual  compass  of  Alto  TOices. 


C         DEFGABCDEFQ 
THE  BR.ACE.     See  78. 


Ob, 


Ex.  21. 


^-0 


THE  DOT.    See  80. 


t^'-^  0 


^  0 

— I- 


;--y- 


I 


The  above  example  is  performed  as  if  written  as  follows  ; 


-3— H 


• — [-0-0  *  0-0  -  ^"^^ — 0  fi^^^^^ 

— .r^-- I — ~'^rf~*~f, — 5~     — ^^n 


64 

Ex.  22. 


THEORY  OP  MUSIC. 
THE  REPEAT.     See  81. 


c:^ 


Ex.  23. 


BIS.    &e  83. 


tl  Bla  I 


-I 


[Book  II, 


I 


Ex.  24. 


THE  HOLD.     .See  84. 

^ ^ 


/T» 


^-# 


^ 


Ex.  25. 


Praise    ye      Je  -  Lo  -  Tab's     name. 

THE  UNISON  PASSAGE.     See  85. 
"Bin  I  I  _H^ •__ 


f" .  >  _l  .  »i L 


I         N     I 


^Jt^g^g=6 


hEEE^EEl 


g^^i^ 


Ex.  26. 


DA  CAPO.    See  86. 

Fine. 


Dr.  T.  Hastings. 
D.C. 


-* 

w 


Ex.  27. 


DAL  SEGNO.     See  88. 


— ^- 


-« — F^ —  • 

-Z.—>~/s a- 


<5> *- 

FllTE. 


w 


-J_ 


m 


m « 


>-^- 


S^-f= 


.i7_^- 


Z).S 


-#=*= 


Ex.  28. 


TRIPLETS,     See  89. 


I Bit 1  ,      w'k  k.     '      r    '    ' 


l^AliT  I.^ 


ILLUSTRATIVE. 


(>.3 


Ex.  30= 


SYNCOPATION.    See  91. 


Li 


v-\ 


Ex.  31. 


:.  i^ 


ACCIDENTALS.     See  102. 


-6^ 


■^ 


:i:- 


Ex    .32. 


t 


CHROMATIC  SCALE.     See  100. 


-^:^-^- 


^?t^ 


z^i^E^^ 


~ai 


9-^ 
Permaueut  Nauie.s—  C,   '  C$,  D,     DJ,     E,      F,     FJf,     G,     GJ,    A,    A$.     B,      C. 
Syllable  Names—       Do,     Di,  Re,   Ri,     Hi,  Fa,     Fi,    Sol,    Si,    La,    Li,     Si,    Do, 
Pronouuced —  Doe,  Dee.Ray.Ree,  Mee.Fali.Fee,  Sok  ,See,  Lah,  Lee,  See,  Doe, 

Numeral  Name—         1,      Jl,     -J,     $2,      3,       4.    J4,      5,    $5,      6,      $6,      7,      8. 


Ex.  33. 


i 


Descending. 


^-?^— <i?  7g^- 


'-^^^^^=-^^-^^- 


Permaueut  Names—  C,     B,      Bjj,     A.     ^,     G,     Gfe,     F,     E,     E(^,    D,     Dj,     C. 
Syllable  Names —      Do,    Si,     Se,     La,    Le,   Sol,  Se,     Fa,    Mi,  Me,    Re,   Re.    Do, 
Prouonnced —  Doe,  See,  Say,  Lab,  Lay,  Sole,  Say,Fali,Mee,May,Ray,Rah,Doe, 

Numeral  Names—      8,        7,    lj7,      6,     |j6,      5,     \^,      4,      3,    |j3,       2,    1^2,      1. 

Ex.  34.  THE  G  SCALE.     See  112  &  113. 

With  G  Clef.  Witli  F  Clef. 


^^m^^^ 


-^^uso:^ 


1,     2,     3,      4,     5,      6,      7,      8. 
Do,  Re,  Mi.  Fa,  Sol,  La,  Si,  Do. 
G,  A,     B,     C,   D,     E.     F|,    G. 
Rem.«k.— The  position  of  the  scale  with  the  C  clef  being  always  the  same  upon  the 
staff  as  the  G  clef,  it  is  not  considered  necessary  to  occupy  time  and  space  bv  illU(itrat- 
jug  it. 


1,     2,      3,      4,     .5,     6.      7,      8. 

Do,  Re,  Mi,  Fa,  Sol,  La,  Si,   Do. 

G.     A,   B,     C,     D.     E,   F|,   G. 


THE  D  SC.AIE. 


See  114  &  115. 

With  F  Clef. 


, With  F  Clef.  .,^.12. 


2.      3.     4,      5,     6,      7.     8. 
Do,  Re,  Mi,  Fa.  Sol,  La,  Si,   Do. 
D,     E,   FJ.    G.     A,     B,    c;.  D. 


1.     2,    3,     4,     5,      6,     7,      8. 

D.>.  Re,  Mi,  Fa,  Sol,  La,  Si,   Do. 

1)     K    F3.  G,    A.     B,  Of,    D. 


CG 


THEORY  OF  MUSIC. 


[Book  11. 


Ex.  36. 


THE  A  SCALE.    See  116  &  117. 


With  F  Clef. 


1,     2,      3,      4,     5,      6,    7,     8. 

Do,  Ke,  Mi,  Fa,  Sol,  La,  Si,  Do. 

A,    B,    CJt,   D,   E,    FJ,  GJ,  A. 


1,  2,  3,  4,  5,  6,  7,  8, 
Do,Re,Mi,  Fa,  Sol,  La,  Si,  Do. 
A.  B,    C|,  D,   E,  F«,GJ,  A. 


Ex.  37. 


THE  E  SCALE.    See  118  &  119. 


With  G  Clef. 


Eiift 


With  F  Clef. 


.^_ffi  1 


1,    2,    3,     4,     5,      6,      7,      8. 

Do,  Be,  Mi,  Fa,  Sol,  La,  Si,   Do. 

E,  Fjf,G«,A,    B,    C$,  DJ,  E. 


^G-^^^^ \ ^- 

1,   2,     3,    4,     5,     C,     7,      8. 
Do,Re,Mi,Fa,Sol,La,  Si,  Do. 

E,  FJf,  GJ,  A,  B,   CJf,D«,E. 


Ex.  38. 


THE  B  SCALE.    See  120  &  121. 


With  G  Clef. 


With  F  Clef. 


1,    2,    3,    4,    5,     6,     7,      8. 

Do,  Re,  Mi,Fa,Sol,La,  Si,  Do, 

B,  CJ,D|,E,F«,GJ,AJf,  B. 


1,   2,    3,    4,     5,     6,     7,   8. 
Do,Re,Mi,Fa,Sol,La,  Si,  Do. 
B,  CJ,  DJ,  E,  FJ,  GJt,  AJt,  B 


Ex.  39. 


THE  SCALE  OF  FJ.     See  122  &  123. 


IWl 


With  G  Clef. 


mm 


'ISL. 


-i& 


'& 


~6>^^ 


^^=3 


-& 


^m 


With  P  Ck-f. 


1,    2,     3,    4,    5,    C,    7,    8. 
Do,Re,Mi,Fa,Sol,La.  Si,  Do. 

FJ,  G$,  Af ,  B,  CJ,  DJ,  EJ,  FJ. 


af-'S'-^ 

1,    2,     3,     4,    5,    6,     7,    8. 
Do,Be.Mi,Fa,Sol,La,Si,  Do. 

FJ,GJ,AJ,B,  CJ,DJ,EJ,Fjt.. 


Ex.  40. 


THE  F  SCALE.    -See  124  &  125. 


With  G  Clef. 


With  F  Clef. 


3,    4,     5,     6,     7, 
Do,  R('-,  Mi,  Fa,  Sol,  La,  Si,  Do. 
F,     G,    A,   Bb,    C,     D,     E,    F. 


4,  5,  6,  7,  8. 
Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 
F,    G,     A,    B|2,   C,    D,    E,    F. 


&f.  41.  THE  SCALE  OF  Bjj.     See  120  &  127. 

With  G  Clef.  With  F  Clef. 


1,     2,      3,     4,      5,      C,     7,      8. 
Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 
Bl2,   C,    D,   E(j,   F.    G,    A,   B(,. 


I,  2,  3,  4,  5,  6,  7,  8. 
Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 
Btf,   C,     D,   E(j,   F,  (i.     A,    Bt. 


Pabt  I.] 


ILLUSTRATIVE. 


67 


Ex.  42.  THE  SCALE  OF  Efe.    See  128  &  129. 

With  G  Clef.  With  F  Clef. 


^ 


-/9- 


-6* 


&-Ci- 


-^- 


t^- 


1,  2,  3,  4,  5,  6,  7,  8. 
Do,  Ee,  Mi.  Fa,  Sol,  La,  Si,  Do. 
Efe,  F,     G,    A|2,  Bij,   C,    D,  Efe. 


1, 


2,     3,     4,      5,      6,    7,    8. 
Do,  Ke,  Mi,  Fa,  Sol,  La,  Si,  Do. 
Efe,   F,    G,   Afe,  Bh,    0,    D,   Efe. 


Ex.  43. 


THE  SCALE  OF  A|j.     5ee  130  &  131. 


With  G  Clef. 


With  F  Clef. 


1,     2,      3,      4,     5,      6,     7,    8. 
Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 
Afe,  B|i,   C,   Dl2,   Eb,  F,  G,  Afe. 


1,     2,      3,     4,     5,     6,     7, 
Do,  Ee,  Mi,  Fa,  Sol,  La,  Si,  Do. 
A{j,  Bfe,  C,    Dfe,  Efe,  F,  G,  A)i. 


Ex.  44.  THE  SCALE  OF  Dfe.     5ee  132  &  133. 

With  G  Clef.  With  F  Clef. 


.-^■^ 


% 


— I- 


1,     2, 


-^-^ 


-G>^- 


■i9- 


SI 


-&- 


±: 


3,      4.     5,     6,    7,     8. 
•  Do,  Ee,  Mi,  Fa,  Sol.La,  Si,  Do. 
Dfe,  Efcj,  F,   Gt,  Afe,  Bfe,  C.  Dfe. 

Ex.  45.  THE  SCALE  OF  G^.     See.  134  &  135. 

With  G  Clef.  _  With  F  Clef. 


1,    2,    3,     4,     5,     6,     7,     8. 
Do,Ee,Mi,  Fa,  Sol,  La,  Si,  Do. 
DIj,  Ek,  F,    Gfe,  Afe,  B|2,  C,  Dfe. 


is'f-i 


1,   2,     3,     4,     5.    6,      7,      8.  1,     2,    3,   4,     5,    6,     7,    8. 

Do,Ee,  Mi,  Fa,Sol,La,  Si,   Do.  Do,  Re,Mi,Fa,Sol,La,  Si,  Do. 

Gfe.  Afe,  B(j,  Cfe,  D|2.  E|j,  F,  Gfe.  Gfe,  Afe,  Bfe,  Cfe.  Dfe,  Efe,  F,  G\. 

A  remarkable  feature  of  this  scale  is  that  it  is  produced  upon  the  organ  and  piano 
hj-  pressing  the  same  keys  which  are  required  to  produce  the  scale  of  FJ  (-See  Ex.  39.J 


Ex.  46. 


SCALE  OF  A  MINOR.     See  136  to  141. 
Harmonic  Form. 


i 


TX 


-»- 


■:st^\^ 


-a   g' 


;«9- 


-6>—j^- 


-sr  -*-    ^  '^    -^  -TT  ^ 

2,      3,      4,       5,      6,      7,       8,      8,      7,     6,      5,      4,        3,      2,      1. 
La,    Si,    Do,   Re,  Mi,    Fa,   Si,    La,   La,    Si,  Fa,  Mi,  Re,    Do,    Si,    La. 


1, 


Ex.  47 


SCALE  OF  A  MINOR.     See  139. 
Melodic  Form. 


3, 


-S>- 


^S^ 


-<9—W 


■f9-     "^  ^     -«*- 

1.      2,      3,      4,      5,      6,      7.      8,        8,     7,      6,      5.      4,      3,      2,       1. 

La,    Si,    Do,  Re,   Mi,    Fi,    Si,    La,    La,  Sol,  Fa,    Mi,  Ee,  Do,  Si,    La. 


68 


THEORY  OF  MUSIC. 


iBocK  n. 


Kemark. — That  uib  learner  ruay  clearly  understand  there  is  no  such  thing  as  a 
Ueiudic  Minor  Key.  it  will  only  be  necessary  to  state  that  the  chords  of  the  Tome, 
Sub-doniuiaiit  and  Dominant,  contain  all  the  tones  necessary  for  the  manifesting  of  a 
key.  in  either  niajo.  or  minor.  Thus,  the  seven  tones  which  manifest  the  key  of  C 
liuijor,  are  all  contained  in  the  three  i;liords  of  C,  F,  and  G,;  e.  g.: 

Dom. 
S.a.    Ton.  .s.  ^^, 


Ex.  48.  E^:   ^     g:^ 


-r^z-l^-^izz. 


;i=«: 


As  these  chords  must  be  major  chords,  t.  e  ,  must  each  be  made  up  of  a  major  third 
and  periect  tilth. — it  necessarily  folic,  s  that  these  three  chords  fix  the  order  of  inter- 
vals in  the  major  key;  i.  e.  1  is  fixed,  being  fifth  of  the  Sub-dominant  chord;  2  is 
fixed,  being  fifth  of  the  Dominant  chord;  3  is  fixed,  being  third  of  Tonic  chord;  4  is 
fixed,  being  fundamental  of  Sub-dominant  chord;  5  is  fixed,  being  fifth  of  Tonic 
chord;  6  is  fixed,  being  third  of  Sub-dominant  chord;  7  is  fixed,  being  third  of  Domi- 
aaut  chord.  By  analyzing  it  will  be  foimd  that  the  order  of  intervals  is  at  the  same 
time  established.  So  m  the  minor  key  the  tones,  (and  consequently  the  order  of  in- 
tervals,) are  fixed  by  three  principal  chords,  thus: 

„  ,    ~      Born, 
S.d.  Ton. 


Ex.  49.  3 


'■^W 


^      G>- 


Id 


As  will  be  seen,  7  is  fixed,  a  minor  second  below  8,  being  third  of  the  Dominant 
chord;  (  Dominant  chords,  whether  major  or  minor,  mutl  nlu-ai/s  hare  major  lliirds;) 
6  is  fixed,  being  third  of  the  Sub-dominant  chord;  (the  Sub-dcminant  chord  of  a 
minor  key  must  always  have  a  minor  third;)  thus  is  established  the  augmented  second, 
between  6  and  7. 

This  order  is  perfectly  consistent  from  a  harmonic  stand  point,  as  will  be  seen  by 
the  following  cadence: 


Ex.  50. 


f 


1= 


:^- 


-^ %l 


^•^— 


— u 


P^^ 


The  following  example  will  show  the  impossibility  of  harmonizing  the  Stielodia 
JlJnor  Scale  in  any  acceptable  manner: 


Ex.  51. 


MELODIC  MINOR  SCALE. 


^^^ 


3 l-a 


1 -i 1— 3t— ^ 


E^5 


i;«— •- 


i=F 


Harmonized  according  to  the  ascending 
form. 


narmoniud  according  to  the  descending 
form. 


Ex.  52 


Ex.  53. 


B>  playing  these  two  exercises,  the  absurdity  will  become  apparent.  But.  it  w:!l 
Ik-  (ilijectpd.  we  frerjuently  meet  examples  of  the  Melodic  form.  True,  but  they  are 
always  eitlicr  jiassing  tones,  appnggiaturas.  or  in  .some  other  way  connected  with  tlio 
euphony  of  the  passage.  The  following  are  several  instances  of  deviation  from  tjif 
true  minor  key,  with  reasons  for  their  occurrence: 


Past  I.] 


ILLUSTRATIVE. 


69 


Ex.  54. 


~g. — »  ^  ' 


At  a,  the  iniuor  character  of  the  passage  is  established  by  the  Ejj;  and  we  can  afford 
to  alter  the  6th  for  the  sake  of  euphony;  but  at  0,  we  are  obligea  to  use  A(j  to  ■ivnid 
destroying  the  minor  character  of  the  passage,  as  would  be  the  case  had  we  used  A 
instead. 


Ex.  55. 


At  c  it  was  necessary  to  employ  Fjj  for  the  sake  of  euphony,  as  in  many  similai  in, 
stances  of  passing  tones  and  appoggiaturas. 

Cases  may  arise  when  it  will  be  necessary,  also,  to  write  both  6th  and  7th  minor,  as 
the  following,  from  Weber,  will  show  : 


Ex.'5G. 


The  following  quotation,  from  Beethoven,  is  conclusive  evidence  that  for  the  sake 
ol  euphony  and  smooth  voice-leading  alone,  are  the  intervals  c  the  Melodic  Scale 
employed. 

Beethoven. 


Ex.  57. 


N.B. 


S^^ 


Ex.  58. 


1 

SCALE  OF  E  MINOR.— (Relative  of  G  Major.) 
See  U2  k  143. 


^^«=^ 


:««-»-•! 


-*-#- 


La  si  do  re  mi  fa  si  la  la  si   fa  mi  re  do  ei  la. 
12  34567887054321 


La  pi  do  re  mi  fa  si  la. 
12i;     456     78 


Ex.  59.  SCALE  OF  B  :xnXOR.— (Relative  of  D  JLajor.) 

See  U4  *:  145. 


La  si  dore  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
12345678876543    2  1 


La  si  do  re  mi  fa  si  la. 
123    45    678 


70 


THEORY  OF  MUSIC. 


[Book  II. 


Ex.  60. 


SCALE  OF  Fjf  MIXOR.— (Relative  of  A  Majob.) 
.See  146  &  147. 


FF^^^#  »' -^-^  »  w-\^-^M    .~r»  •^^^—  3 

I — ^   I' 9~^ 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
1     2    34    5    07     88765     4    3    2    1 


La  si  do  re  mi  fa  si  la. 
1234567s 


Ex.  Gl. 


SCALE  OF  CJ  MES'OR.— (Relative  of  E  Majob.) 
.See  148  &  149. 


:?^: 


•J        .#.« 


-#-*- 


^t^-^- 


^^=^V 


^f^ 


.•=*»•*. 


La  si  do  re  mi  la  .«i  la  la  si  fa  mi  re  do  si  la. 
12345G7887G54321 


La  si  do  re  mi  fa  si  j^. 
12345678 


Ex.  62.  SCALE  OF  GJ  MDfOR.— (Relative  of  B  Majob.) 

See  150  &  151. 


iMIfe^^l 


'«?* 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
123    456788     765    i    3    21 


Lii  si  do  re  mi  fa  si  U 
123    45678 


Ex.  63. 


SCALE  OF  DS  MTN'OR.— (RELATrvE  of  DJ  Majob.) 
^ee  152  &  153. 


-*-»??>- 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
12    34567887    6    543    2    1 


La  si  do  re  mi  fa  si  la 
12345678 


Ex.  64. 


-G 


SCALE  OF  D  SriKOR. —(Relative  of  F  Majob.) 
See  154  &  155. 


La  si  do  re  mi  fa  si  la  la  si   fa  mi  re  do  si  la. 
1234567887654321 


La  si  do  re  mi  fa  si  la 
12345678 


Ex.  65. 


\M^ 


SCALE  OF  G  MINOR.— (Rel.\tive  of  E}j  Majob.) 
See  156  A:  157. 

^0-M^.^ 


^^] 


La  si  do  re  min  si  la  la  si  fa  mi  re  do  si  la. 
123    4    5C788    7G54321 


La  si  do  re  mi  fa  si  la 
1234     5    678 


Ex.  66. 


SCALE  OF  C  MINOR.— (Relative  of  Efe  Majob.) 
See  158  &  159. 


M 


*  •' \ \ '"^ 


9^3 


2zi2: 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
1    23    45    678    876    5    432     1 


La  si  do  re  mi  fa  si  la 
123    45    678 


Pabt  I.] 


ILLUSTRATIA^B. 


71 


Ex.  67. 


SCALE  OF  F  jmSIOE.— (Relative  of  A}^  aiAJOB.) 
See  160  &  161. 


-9^*    -»1— »- 


-0-g 


iilg^^ 


La  si  do  re  mi  la  si  la  la  si  fa  mi  re  do  si  la. 
12345    67887     65    4    321 


La  si  do  re  mi  fa  .«i  la 
12345     678 


Ex.  68.  SCALE  OF  Bjj  MINOR.— (Relative  of  Djj  Majoe. 

See  162  &  163. 


^•W* 


f^^^ 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
123456788  7   654321 


;si^=j 


La  si  do  re  mi  fa  si  la 
1234    5678 


Ex.  69.  SCALE  OF  Bq  MINOR— (Relative  of  G|y  Major.) 

See  164  &  165. 


J^gg^^ 


0.» 


#-• 


La  si  do  re  mi  fa  si  la  la  si  fa  mi  re  do  si  la. 
12    34    5678876     5    432    1 


La  si  do  re  mi  fa  si  la 
1    2345678 


The  following  table  will  show  at  a  glance  the  different  transpositions, 
major  and  minor,  with  their  several  signatures.  The  larger  notes  repre- 
sent One  (Do)  of  the  major  key;  and  the  smaller  notes  represent  One  (La) 
of  the  relative  minor  key. 


Ex.  70. 

Key  of  I  Key  of  I    Key  of   I    Key  of    I      Key  of 
C.       I      G.      I         D.      I       .A.       I  E. 


Key  of 
B. 


-^^^MM^MM 


Key  of 


0- 


One.     Oue. 


Oue 


One. 


Oue. 


"One. 


zstz. 

0 

Oue. 


^mmm^^mmM 


Bj  Sharps 


'fe' 


Key  of 


Kev  of 

FJt. 


Kev  of     I 


Kev  of 


Key  of 


Lti^ili^^gl^ 


Oue. 

(9 — 


One. 


Oue. 


Bj  Flaw 


^6^S^i^3 


72 


THEORY  OF  MUSIC, 


[BqokII 


Ex.  71.  MAJOR 

TRANSPOSITION  BY  SHARPS 


) 

u 
c4 

O 
3 

a 
a 
a) 

CO 

g. 

s 

tn 

o 

H 
2 

3 

a 

CO 

i* 

so 

a 
ao 

00 

t 

3 

H 

a 
to 

in 

c3 

CO 

3 
« 

a 

EB 

to 

p< 
S 
.a 

CO 
X 

i« 
2 
>^ 

& 

B' 

I 

G    ..;..8Do. 


8  Do 
7  Si 


F 

E 


7  Si 6  La 


8  Do. 
7  Si. 


6  La'.. 


5  Soli 


6  La SSol 


C 

B 

»$ 

A 


li 


I>   SSol  8Do|4Fa 


7  Si  3  Mi 


8  Do  i  Fa 


8  Do;  4  Fa 


7  Si  3  Mi  6  La 


7  Si; 


6  La 


2  Re  5  Sol 


3  Mi 


2  Re 


[8Dol 
7  Si 

6  La 

5  Sol 


I  Do 


4  Fa 


6  La  2  Re  S-Sol'tDo  4Fa 

.}\...\ 3Mi 2Re 


iMi 


O    BSollDo  4  Fa'....'. 
it    3M1 


F    ,4  Fa 

E 

D 

c«:L... 

)  : 

O  I  I  Do 


j3Mi 2  Re 

2  Re.!..  IDo 


2  Re 


1  Do 


11  Do 


-J 

'i 

Q 

<:' 

a 

«" 

^ 

^m 

-.^^ 

wt 

(.x 

<_> 

-' 

o 

o 

o 

o 

c 

o 

>-. 

>i 

>1 

>. 

>. 

>< 

<D 

a> 

» 

U) 

t4 

M 

M 

M 

M 

W 

KEYS. 

TRANSPOSITION  BY  FLATS. 


If 


G 

F 
£ 

1> 

C 
B 


F 
B 


C 


.• 

■ 

*^ 

4^ 

:3 

ce 

.«<9 

1^ 

S 

0. 

N 

|4 

a 

o 

9 
.a 

2^ 

O 

H 

H 

1^ 

E 

05 

a 

o 

o 

o 

IB 

s 

a 

« 

OS 

cj 

a 

OS 

a 

a 

c 

a 

a 

£0 

io 

tc 

et 

sc 

60 

ao 

M 

K 

cc 

bo 

05 

j8  Do 
7  Si 


6  La 


5  Sol 


8  Do. 

7  Si . 

I 


8  Do. 


I 
GLa. 


<  Si. 


.5Sol 6  La, 


8  Do 

7  Si 


4F 
3  Mr 


C! 
B 

^^ 
A 

G 

gf> 
F 


4  Fa  j8  Do  5  Sol 6La 'e|y 

3Mi;|7  Si  I....    n 

!|4  Fa  8Do' 5Sol    «% 


2  Re 


IDo 


6  La 


3  Mi 


2  Re 


Sol 


4  Fa 

I 

3  Mi : 


2  Re 


'P 


IDo'. 


7  Sii  ....'   C 
il 

....  4  Fa    B 

6  La  3  Mi   bt> 

A 

1  I)m5Su1  2  lie   a|> 

^  'l...:|....  G 

4  Fa 'l  Do   g^ 
|2Re| 3  Mi F 

.; !..;..> 

.!.   2Re'..'...    ej, 

..•  .LI..:..  B 

I    ■ 
....  IDo % 

C 


1  Do. 


fa 

^ 

< 

e 

<•-) 

<*.. 

.4-1 

!^ 

«^ 

Ch 

o 

o 

o 

o 

o 

>•. 

>. 

>, 

t*. 

>. 

>> 

<u 

<s> 

<e 

ID 

•i) 

a) 

M 

W 

M 

M 

t4 

M 

Paux  U.] 
Ex.  72. 

TU.\NSP0S1TI0N  BY  SHARPS 


ILLUSTRATIVE. 

MINOR      KEYS 


73 


en 


: 

X 

: 

33 

cc 

p. 

2. 

3 

s* 

c* 

x 

:3 

C^ 

:£ 

— 

■ji 

s 

X 

■Ji 

aj 

W 

^. 

X 

a) 

O 

.- 

;:; 

«, 

a 

^ 

.a 

o 

X 

O 

H 

H 

'•^ 

h 

33 

s 

(i> 

OJ 

3 

a 

C) 

-.J 

.k» 

-*i 

3 

s 

:e 

a 

s 

a 

M 

;c 

M 

SD 

;t. 

IC 

32 

X 

x 

7J 

cc 

X 

8!-a. 

1       I 
7  Si'. 


XLa. 


7  Si 5  Mi  Slja 


A 

Kf 
G 

n 

D 

C 
B 

a; 
A 

gj  i'  Si 

G  ....!3Do,  6Fa 

if  ....!2  Si  5Mi;  1  La  4  lie 

r    C  la ...' 

G  o.Mi  ILa  41te'..;..  3  Do 


«  I, a  . 
'7  Si'. 


6  Fa 


era.       i.. 

5  Mi  8  U  4  Re 

....  7  Si 


6  Fa 

5  Mi  8  La  4  Re 
7  Sii 


3  Do' 


7  Si 


6  Fa 


>  i^a  4  Re 


'2  Si,  5  Mi 


3 Do  6  Fa'. ...I 

!         !i         :l         ! 

2  Si  5  Mi  1  La 


4  Re 


iDo 

2  Si! 


D  ■'tKe 3  Do 

cj    ...J..;..' 2  Si 

I 
B    2  Si| ILa 


2  Si. 


ILa 


ILa 


A   Jl-a. 


c 
a 

i 

o 


. 

t4 

h 

L. 

5; 

0 

0 

0 

c 

— 

0 

a 

a 

§ 

^ 

^ 

^ 

S 

** 

** 

** 

*v 

» 

n 

U 

0 

0 

*— i 

(M 

V« 

«»-• 

c-i 

s 

0 

0 

0 

0 

0 

i>> 

>> 

f. 

t>» 

>» 

k. 

0 

<X> 

(S 

<o 

(U 

0 

M 

M 

t4 

M 

M 

M 

G 

F 
E 

J» 

C 
B 


F 

D 

C 
B 


TR.ANSPOS1TION  BV  FLATS. 


• 

X 

X 

cc 

c: 

:S 

f=^ 

^ 

P^ 

0. 

iil 

^ 

GJ 

9 

:= 

c. 

c 

H 

^ 

C^ 

'-=- 

X 

b) 

^ 

c 

;:, 

^ 

^ 

rt 

ce 

— 

cc 

- 

ec 

it 

tt 

-Is 

tl 

u,  , 

orj 

X 

cc 

X 

a 

X    1 

8  La 
7  Si 


8  La. 

I 
Si. 


. .  p  Fa 
8 1^  5  Mi 
7  Si;.. 


4  Re 


6  Fa,  ,3  Do 


5  Mi 


4  Re 


,8La| 
7  Si: 


F 

,8  La    eb 

7  Si    D 

<% 

jC 

!6  Fa    B 

4R&8La5Mi  '  bl, 


6  Fa 
5  Mi. 


2  Si 

.  .    6  Fa 

ILa  5  Mi' 


n 

2  Si. 


il 


3  Do 
2  Si 


7  Si 


6  Fa 


4  Re 


3  Do 


4  Re  ILa  5  Mi '2  Si 


ILa. 


8  DO. 


4  Re  1]  La 


iLa. 


3  Do 

2  Si 


ILa. 


; 

; 

tl 

f..* 

t:? 

0 

fe 

0 

0 

j3 

2 

a 

a 

~ 

s 

s 

^ 

S 

S 

S 

0 

C5 

P^ 

^ 

^- 

<«-< 

t... 

«.-< 

C»4 

0 

0 

0 

0 

0 

>> 

>. 

>) 

>> 

>> 

t.^ 

0) 

0 

(S 

Q> 

U 

e 

M  J 

M   J 

-M    J 

M 

t<l 

UJ 

F 
E 

D 

C 
B 


Ex.  73. 


THEORY  OF  MUSU 

PASSING  TONES.     See  \mm 
Essential  Tones  of  the  Melody. 


[Boos  II. 


^ 


r^V- 


The  melody  enlivened  by  Passing  Tones. 


1^^^-^^^ 


Ex.  74. 


APPOGGIATURAS.     See  167. 


Ex.  76. 


AFTER  TONES.    See  170. 

Written.  PMfbrjned. 


^-^ 


s^sm: 


^s 


W^: 


^i« 


Remark. — There  are  other  embellishments,  graces  and  ornaments,  such  as  Double 
AppoGGiATtJBA,  the  TuEN,  the  Mordent,  the  Tbtll,  the  Docble  Tbiix,  the  Tbill 
Chain,  the  Cadenza,  etc.,  which  it  is  not  thought  best  to  introduce  here. 


Ex.  76. 


ACCIACCATURA.     See  169. 


z^lj^iM^:iM^9^!3=:M^J=t^-p^ 


Ex.  77. 


THE  FIVE  DEGREES  OF  POWER.     See  172  to  177. 


o 


F 


O 


o   O 


Ex.  78. 


pp 


CRESCENDO.    See  177. 

M 


Ex.  79. 
pp 


DECRESCENDO.     See  178. 
M 


PP 


Ex.  80. 


SWELL.     See  279. 


PP 


PP 


SFORZANDO.    See  180. 


PP 


ILLUSTRATIONS  OP 


PART     SECOND. 


[The  figures  refer  to  the  corresponding  questions  in  Part  II.  Book  /.] 


INTERVALS. 


Ex.  82. 


PRIMES.     See  186  to  195,  inclusive. 


-• 0- 


f^        g. 


'  Perf.xt. 


i-^m 


:*=l2?=r 


AU"lilelited. 


-^~^- 


Ex.  83.  IXTERVAXS  OF  THE  KEY  OF  C.     See  187  to  192 


AU  the  Seconds  in  the  key. 


All  the  Thirds  in  the  key. 


■ffl 


:=i-F 


t:i±LE*zEi£s±fiEM 


i^^ 


0  ^ 


ilajor. 


Minor.' 


JIajor. 


Minor. 


All  the  Fourths  in  the  key. 


All  the  Fifths  in  the  key. 


m 


Perfect. 


I  I 


j_, 


§ii 


Aug- 
mented. 


Perfect. 


Dimin- 
ished. 


All  the  Sixths  in  the  key. 


AU  the  Sevenths  in  the  key. 


hp£EE; 


's^m 


Major. 


Minor. 


, L 


=lL 


_^_  * 


^ 


Major. 


Minor. 


Ex.  84. 
Pbtmes.  See  195.       Seconds.  -See  196. 


Thirds.  See  197.   Fotjbths.  See  198. 


-»   ■*•?♦   ••-        ♦^      ■•-^r      -••   ^■^^-0-    -0-    -0-    ^ 


Perfect.    Aug.      Major.      Minor.      Aug.       Maj.  Min.  Dim.  Perf.  Dim.  Aug. 


76 


THEORY  OF  MUSIC. 


[Book  II. 


Fifths.  S^e  199.  Sixths.  See  200.  Sevenths.  .See  201.  Octaves.  See  202.  Ninths.  See  203. 


Pelf.  Dim.  Aug.    JIaj.  Mm.  Aug.    JIaj.  Mill.  Dim.  Perl'.  Dim.  Maj.  Miu.  Aug. 
Ex.  85.    CHROMATIC  HALF-STEPS  AxND  MINOR  SECONDS.    &e  232  and  23a. 


iZt 


CLiro.  half-.steps  or  .Kw^.  PriiiiL-s.     Diatonic  ball-i~t<  p.s  ur  Miuor  SecoudH. 
Kx.  86.  Pkimes  Inverted.     See  249  and  250. 


^=4^= 


I 


*l^l* 


^ 


Ex.  87. 


Per.  Prime.  Per.  Oct.  Aug.  Prime.  Dim.  Oct. 
Seconds  Inverted.     .See  251  to  253. 


f 


it 


l_ 


J L 


1*1 


.*-it' 


ii 


Miii.lia.    Maj.  Ttb.      Maj.  2d.    Mm.  Ttli.     Aug.  2a.    Dim.  7th. 
Ex.  88.  Thirds  Inverted.    .See  254  to  256. 


Dun   3d.    .Aug.  Otli.     i\Iiu.  od.     Maj.  Gtli.     Maj.  oil.     .Min.Gtli. 
Ex.  89.  Fourths  Inverted.    .See  257  to  259. 


*=3iz£3 


^^fe^=** 


Ex.  90. 


Dun.  4th.    Aug.  5th.    Per.  4th.    Per.  5th.    Aug.  4th     Dim.  .5th. 

Fifths  Inverted.    .S''«  200  to  2G2. 

.J__ 


Dim.  5th.  Aug.  4tli.    I'ur.  5th.  Per.  4th.    Aug.  5th.  Dim.  4th. 

ji,x.  9  1 .  Sixths  Inverted.    .See  263  to  2G5. 

_o I  '  .  1 


:1ZK 


i?^ 


:*s^^l=jEg€s^^ 


Miu.  6th.    Maj.  3d.     Maj.  6th.  Min.  3d.     Aug.  6tU.  Dim.  3d. 


Pabt  U.] 
Ex.  02. 


Ex.  93. 


ILLUSTRATIVE. 

Sevenths  Inverted.     See  266  to  268. 


'-W- 


A'^ 


-?•- 


55^ 


j_ 


'1-       "~ 

Dim.Ttli.  .\ug.  2d.  Miu.  7th.  Maj.2d.  Maj.  7th.  Mm.  2d. 
Octaves  Inverted.  .See  269  aud  270. 


=fe 


g^=ggl^f^^ 


Per  Oct.  Per.  Prime.  Dim.  Oct.  Aug.  Prime. 


7? 


Ex.  94. 


XiNTHS  Inverted.     Set  271  and  272. 


m 


-?»- 


-^- 


J— £- 


-#- 


Maj.9th.  Min.  7th.     Miu.  9th.  Maj.  7th.     Aug.  9th.  Dim.  7th. 

TRI.\DS.     Set  316  also  282. 
£x.  95. 

Triad  of  D.  Triad  of  T.  Triad  of  A.  Tiiad  of  C. 


•  ol  D  FundamentaT, 


11 


A  Third.' 


F  FundamentaL 


m  E  Fifth. 

arc  Third. 

g"A  FundamentaT" 


1  O  Fifth. 

IE  Third. ~ 

i'O  FiindamentaL " 


\ 


TRIADS  AND  POSITIONS.     Sei  317,  318  &  319. 
Ex.  96. 

Triad  of  C.  Triad  of  Ti-iad  of  E.  Triad  of  F. 


» » \ 


Ist.po.  2d.po.  3d.po:  Ist.po.  2d.po.  3d.po:  Ist.po.  2d.po.3d.po;  lst.po.2d.po.3d.po 
Ex.  97.    Triad  of  G.  Triad  of  A.  Triad  of  B. 

Ist.po.    2d.  po.   3d.  po.      l.«t.  po.   2<T.  po.    3d.po.      Ist.po.  2d.  po.  3d.i)o. 

ALL  THE  TRIADS  IN  C  M.\.TOR.     See  299  to  30-8. 
Ex.  98. 

Super-  Med-     Sub-         Domi-    Sub-        Sub- 
Principal.  Triads  in  0  Ma.inr:  Tonic,  tonic,   iant.  dominant,  nant.  mediant,   tonic. 


-^ — ^^ 


I,      IV,      V. 


I,       II,      III,      IV, 


V,       VI, 


VII^ 


78 


THEORY  OF  MUSIC. 


[Boos  n. 


Eemakk. — It  will  be  noticed  that  all  major  triads  are  indicated  by  large  Roman 
numerals,  and  all  minor  triads  by  small  Roman  numerals, while  the  diminished  triads 
are  indicated  by  small  Roman  numerals  to  which  a  cipher  is  added,  and  the  augmented 
triads  by  large  Roman  numerals  to  which  an  accent  mark  is  added. 


ALL  THE  TRL\DS  IN  A  MINOR.     See  309  to  315. 


Ex.  99. 


Tonic.  Super-tonic.  Mediant.  Sub-dominant.  Dominant.  Sub-Mediant.  Snb-tonic. 


W^ 


-0- 
11, 


'0r 


'M-- 


-r= 


-h 


m 


iir. 


rv, 


V. 


VI, 


VII°. 


Ex.  100. 


TRIADS  INDICATED  BY  FIGT7RES.     See  329  &  330. 


I        I 


:=!=!:: 


• — 0 


■0 0 ^- 


-*, — •: 


%z^*—t—^ 


-0 — =i— -'5—1- » — ^ — iS^^ 

-0-  -»■  -w-  -f^^ 


9^—^-^ 


^Ens: 


•5       .5       3       8 
3      3       5      5 


.S       5 


rTSL 


See  835. 

t-    V 

#> — 


See  336. 

V 


«     » 


-J — ^—0—0 
^—9 h- 

i_: 


U      ^-i 


Ex.  101. 


INVERSIONS  OF  TRIADS. 


I-^- 

,             -^ ^- 

1               1     . 

-A--, 

-J ^ r-1 

!#?k       ^        *        ^ 
f^- — 0 0 0 — 

-  M        4 
—0 0 — 

— 0 — 

w.        -w 

— 0 0 0- 

Direct  Form.   See  327. 

■0-       -0- 

First  Inversion. 

— 1 — I — 0 _ — «i • 

-0-                                                 -0- 
See  338.  Second  Inrersion.    See  340. 

1 

^             ^             ^ 

-| \ 

i-      - 

^ 1* ^ 

I     I 


G 
4 


Ex.  102. 
DOMINANT  SEVENTH  IN  C.    See  344  (o  347.        SAME  IN  FOUR  .PAHTS. 


'^- 

1 

-ir~i^ 

i~\ 

— ^^ — 

1 

5 

9== 

0  . 

0                0' 

0 

■  ■  "f  ' 

1 

— •— - 

^ 

pabt  ir.] 


ILLUSTRATIVE. 


79 


Ex.  103. 

INVEBSIONS  OF  DOMINANT  SEVENTHS. 

See  348  to  354. 


:^zr5|iz:=rj=:ji=f-rq:=::]zzj: 


-• — «' 
JL~r 


:ni: 


Ex.  104. 

Sevenths  of  ii  Major. 
See  356  to  358. 


X —J g=fi=3 


I=E 


6 
5 

%       I 

t 

t 

t 

^horc 

i  of  the  Seventh  of  vii 

o  Ma 

or 

See  359  & 

360. 

Ex. 

105 

4 


Chord  of  the  Seventh  of  no  Minor. 
See  361. 
Ex.  106. 


w—i — ^^—=t — ^ 


^^ 


Ex.  107.  Ex.  108. 

Chords  of  the  Diminished  Seventh.  See  362  &  363.    Chords  of  the  Ninth.  See  364  to  366. 

Major.  Minor. 


:t 


■• it^ it« Ji* 


|:=fc 


1 


vn8 


Ex.  109.  ALTERED  CHORDS. 

The  Augmented  Triad.  See  378.    Aug.  Chord  of  the  Sixth.  See  384  to  380, 

J nA ,— 


i 


^ 


S5 


J.6 


:fe|^ 


»« 


1^ 
— * 1 

3^ 


80 


THEORY  OF  MUSIC. 


[Book  II. 


Ex.  110.    Origin  of  the  Augmented  Chord  of  the  Sixth.    5ee  385. 

Original)    Same  with  )  Same  without  (        1st  luversion  briugs  the      )    Same  in 
Chord.  ]   od  altered,  j  I'uudameutal. )  Aug.  6th  Chord  or  Italian  Hth.)  four  parts. 


f 

A  :  ui 


-'  ■'^ 


'^-"^ 


-s>- 


^3 


«6 


Ex.  111.    Obigin  of  the  Augmented  Chord  or  the  Sixth,  Fourth,  and 

Third.    See  390  to  391. 


Original  Chord.  Same  with  3d  altered,  i.st  Inversion.  (      and  3d,  or  French  6th. 


(2nd  In.  brings^ Aug.  6th.  4th, 


% 


^ 


m 


2?^ 


^6 
1 


9^ 


zHfe 


-dS*- 


11^ 


Ex.  112.    Origin  of  the  .\ugmented  Chord  of  the  6th  and  5th. 

See.  395  to  399. 

Original    )    Same  with  )     Same  with    (   Same  without  )  1st    In.  brings  Aug.  6tli 
Chord.     )       Ninth.       )     3d  altered.    )    Fundamental.   J  and  5th,  or  German  6th. 


% 


9: 


'W 


3E-J 


h 


m 


I 


-«*- 


-tS>  — 


s>- 


II? 


Ex.   113. 


Origin  of  the  American  Sixth.    See  400  to  403. 


=I^=L  -^- 


3Ei!g 


Original )  Same  with )  Same  with  3d,  5th,  1  Same  without  1   1st  In-  )  2nd  In.  brings 
Chord.  /     Niutb.     J     and  7th  altered,     j  Fundamental.  |  version. )    the  Am.  6th. 

"     i.'i---. 


%3 

•J     ci 


[9-~ 


-«>-- 


-&- 


I 


P3 


A  :  11" 


Til*'  followiii;::  talile  .shows  at  a  glance  all  the  Chords  which  will  be 
usually  nn't  with  in  practice. 


81 


Pabt  II.]  ILLUSTRATIVE. 

Ilx.   1 14.  ilAJOR  TRIADS.  MINOR  TRIADS. 

Of  the  Major  key.    Ol  the  Minor  key.      Of  the  Major  key.    Of  the  Jliuor  key. 


r^TT7 — '^ ^ 


^If 


1^ 
c  :  I,      IV,     V.     A :  V, 


VI. 


i 


-^ ■ 


^=^3: 


in,     VI.     A :  I, 


=1 

IV. 


^ 


Ex.   115.        DEVirSISHED  TRIADS. 


Of  the  Major  key.         Of  the  Miuor  key. 


i 


AUGMENTED  TRIAD. 
Miuor  key. 


-<Sr 


>rg 


^ 


c :  vn°.  A  :  vP,  vir.  a  :  III'. 

Ex.116.  INVERSIONS  OF  TRL\DS. 

First  Inversion.  Secoml  Inversion. 


i 


-O- 


->*- 


%- 


W= 


I 


I 


Ex.  117. 


CHORDS  OF  THE  SEVENTH. 


Dominant    Formed  the  same  Seventh  of   Seventh  of    Seventh  of    Seventh  of 
Seventh.  in  Miuor.        tw6  Major,  seven  Major,  two  Miuor.  seven  Minor. 


% 


c  :  V,. 


-!7 -« 


S^^^^^p=Ei 


VII" 


A  :  \v. 


(g- 


A  :  TIK 


Ex.   118.      INVERSIONS  OF  THE  CHORDS  OF  THE  SEVENTH. 
First  Inversion.        Second  Inversion.    Thii-d  Inversion. 


P 


6 


-G>- 


«  V. 


rfs: 


-«^ 


V. 


-«•- 
^ 


-G>- 


I 


82 


THEORY  OF  MUSIC. 


[Book  11, 


Ex.  119. 


ALTERED  CHORDS. 
{Chromatically  changed.) 
In  Major:  Augmented  Triad  on  One,  Four,  and  Five. 


Ex.  120. 

Italian  Sixth. 


French  SiJrth. 


German  Sixth. 


American  Sixth. 


^^ 


3 


^i 


O'^- 


S3: 


86 

b5 


3 


^ 


-^■g 1 — big — : 


1 


M**" 


ILLUSTRATIONS  OF 


PART     THIRD 


iVie  figures  refer  to  the  questions  in  Part  HI.,  Book  /.] 


tVhen  tones,  or  cnoras,  are  repeated,  they  are  said  to  remain  stationary: 
Motion  occurs  when  they  progress  to  other  tones,  and  thereby  form  another 
chord.  There  are  three  Jiinds  of  motion,  called  Similar,  Contrary,  and 
Obuque. 


Ex.  121. 

Stationary  tones 
and  Chords. 


Similar  Motion.     Contrary  Motion.    Oblique  Motion. 


Remakk.— We  would  call  attention  to  the  fact  that  the  word   "  motion  "   is  also 
applied  to  rhythm,  as  in  the  expressions  •'  triplet  motion,"  "  sixteenth  note  motion," 


etc..  e. 


Ex.   122.     Triplet  Motion. 


Haydn. 


n*^  r^^  r-rn    fl^    rT^-  fT^ 

—1^ t-m—^ 1 ^  -:M 1 ! 1 1— rl 1    J 


m 


mm. 


I&c. 


Ex.   123.     Sixteenth  note  motion. 


E^I^^^E^ 


^-    V 


F5=^^ 


4=^ 


1 — 


84 


THEORY  OF  MUSIC. 


(Book  11. 


In  writing  music  care  should  be  taken  to  have  each  part  move  to  that 
tone  in  the  following  chord  which  will  occasion  the  least  motion ;  and  if  the 
two  chords  have  a  mutual  tone  it  should  be  continued  in  the  same  part, 
and  marked  with  a  tie.     (See  427  to  431.; 


Ex.  124. 

G  is  the  Mutual  toue. 


C  is  the  Mutual  tone. 


Mutual  tones  are 
C.E.    ,C.A.      A.F. 


One  of  the  hrst  things  to  be  taken  into  consideration,  in  writing  music, 
is  the  avoidance  of  consecutive  fifths,  and  octaves.  The  reason  whj'  con- 
secutive octaves  are  disagreeable  is,  that,  while  we  expect  to  hear  four 
well  balanced  parts,  we  have,  in  reality,  onl3-  three;  one  of  wiiich  is  so 
overloaded  as  to  destroy  the  synmietry  of  the  whole.  Consecutive  fifths 
are  worse;  for,  as  the  musical  ear  naturally  supplies  the  major  third, 
whenever  a  perfect  fiftii  is  lieard,  the  key  is  changed  with  every  i)ro- 
gression;  than  wliicli  nothing  in  nuisic  can  be  more  disagreeable.  (See 
437  to  437.; 


Ex.  125. 


Cousecutivo  Fifths. 
I 


Consecutive  Octaves. 


111  tlu!  first  measure  of  tlie  above  example,  the  small  notes  indicate  the 
major  thirds,  as  our  perceptions  sui^ply  them.  In  the  second,  and  third 
measures,  two  keys  are  dislinctly  heard  at  once,  in  direct  violation  of  tiie 
ureat  commandment—"  Thou  shalt  not  have  two  keys  in  thy  mind  atone 
lime."  By  playing  these  examples  the  student  will  perceive  at  once  why 
consecutive  llftiis  and  octaves  are  not  allowed. 

The  second  inversion  of  the  triad  ( |  )  requires  careful  treatment.  If  it 
appears  as  Tonic,  Dominant,  or  Sub-dominant,  upon  an  accented  pulse, 
and  is  resolved  by  the  chord  of  tlie  tone  whicli  forms  the  base,  it  is  al- 
v,'a>s  safe.     (See  443  to  452. ) 


Ex.  126. 

As  a  Tonic  chord. 

-0- 


As  a  Sub-dominant  chord.    As  a  Dominant  chord. 


,1=  ^i=^^3E3EBEE^^^i^~] 


s 


G 
4 


3 


6 
4 


SL 


-jL 


CiS 


m 


jz: 


m 


:•  ART  III. 


ILLUSTRATIVE. 


85 


It  cm  also  be  used  as  a  passing-  clionl  ujioii  an  niiaccented  pulse,  as 
fullows: 

Ex.  127. 


6 
4 


^t 


:p: 


f- 


7 


I 


6 
4 


1 


^- 


I 


It  often  appears  as  a  suspension  with  good  effect,  as  follows: 
Ex.  128. 


As  Tonic 


As  Sub-dominant. 

_J ^  — 


As  Dominant. 


•      •  " ■*       -r       -at 


g=E 


^     t 


It  is  very  effective  as  a  means  of  modulation,  e.g.:     (See  450.) 
Ex.  129. 


-i9- 


[t^M^ 


6 
4 


s 


=^: 


P^=^= 


«■- 


F^- 


P 


1^ 


r 

6 
4 


35r 


i 


WhiMi  the  four-part  harmony  is  written  so  that  the  three  upjter  parts 
are  contained  in  an  octave,  and  can  he  played  with  one  hand,  it  is  called 
Close  Harmony.  If  the  interval  l)etween  the  soprano  and  base  is  about 
equally  divided  by  the  tenor  anil  alto,  it  is  called  Dispersed  Harmonv. 
'.'J.: 


Ex.  130. 


Close  Harmony. 


Dispersed  Harmony. 


-\ — "I ^'^ — ; — r r     .  * 


9- 


:t:t 


— I- 

~0- 


33E^i 


^F-     "W     ^^     "^  A        A       ^^     ^^ 

"-r-r-r-T-r-r-r=^ 


86 


TuniORY  OF  MUSIC. 


[Book  li. 


Chords  of  the  Dominant  Seventh  usually  resolve  into  tonic  harmony; 
the  7th  descends  one  degree,  the  3d,  (leading  tone,)  ascends  a  minor  sec- 
ond ;  the  fundamental  and  fifth  are  free.  The  inversions  of  this  chord  all 
follow  the  same  rules.     (See  470  to  480.)  e.r/..- 


Ex.  131. 


Direct, 

.J. 


1st  inversion. 

-4 ^— 


2d  inversion. 

4- 


3d  inversion. 

I  I 


There  is  one  exception  to  the  rule  obliging  the  interval  of  the  seventh 
in  this  chord  to  descend:  wlien  from  the  second  inversion  of  the  domi- 
nant seventh  chord  we  progress  to  the  first  inversion  of  the  Tonic,  the  so- 
prano having  the  seventh,  it  may  ascend ;  e.g. : 


The  reason  for  this  is  that  the  tone  wliicli  would  i-esolve  the  7th  is  taken 
by  tlie  l)ase,  and  is  consequently,  so  i)roniinent  that  our  expectations  are 
fully  satisfied. 

Tlie  Dominant  seventh  of  a  Major  Key  may  resolve  into  the  Tonic 
harmony  of  tlie  relative  minor  Uey;  also  t\w  Dominant  seventh  of  a  minor 
key  may  resolve  into  the  sub-dominant  harmony  of  the  relative  major 
key.     e. //.: 

Ex.  133. 


"11 


4 


§i=^ 


o:V, 


a:  I 


A:V,     c:IV 


t^a&xUL] 


ILLUSTRATIVE. 


67 


One  Dominant  seventh  chord  may  resolve  into  another,  producing  a  fine 
effect.     (See  473.; 

Ex.  134. 


P*- 


1fS=?5=J=^ 


±9    __J__-ta^ 


^* 


-?•- 


:^ 


o:V,    c■.\^    FiV^  Bi,:V,  Efe:  Vj   Afe:  V,   Afe:  I 

Other  resolutions  of  the  Dominant  seventh  chord  may  also  be  made,  but 
the  above  are  the  most  usual. 

The  interval  o/  seveutli  may  be  abandoned,  or  it  may  be  transferred 
from  one  part  to  auotlier  when  the  chord  is  repeated,  in  which  case,  the 
part  which  has  it  last  nmst  be  responsible  for  its  resolution.   {See  476.)  e.g. 


Ex.  135. 


Till  abandoned. 


7th  transferred. 


':cr_ 


~s>- 


£ 


7 


—I 


-U. 


^ 


6 

->9- 


^ 


The  chord  of  the  seventh  of  Two  major  is  usually  employed  in  its  first 
Inverted  form.     {See^S>1.)    e.g.: 

Ex.  136. 


^•s-^ 


0 0—^^ ^— L-  0 *-      -  i 


:^ 


<&- 


9- 


6 
5 

-#- 
■»- 
"I — 


-I ' r- 


c:I 


n. 


c:I 


'iM 


The  chord  of  the  seventh  of  seven,  in  the  major  mode,  is  less  useful 
than  the  other  chords  of  the  seventh,  and  is  generally  employed  with  the 
seventh  in  the  sojirano.  Its  pro.oression  is  as  follows  :  The  funda- 
mental, beins;  tlie  leading-tone  of  the  key,  ascends  a  minor  second,  its 
fifth,  being  diminished,  descends  a  minor  second,  its  seventh  descends  one 


88 


THEORY  OF  MUSIC. 


[Book  II. 


degree,  and  its  third  is  free,  (See  485. ;  The  third  of  the  following-  Tonic 
chord  is  usually  doubled,  to  avoid  consecutive  fifths ;  these  may  be  avoided 
however  by  causing  the  third  of  the  seventh  chord  to  descend  five 
e-c/.: 


degrees. 


Ex.  137. 
4] 


f 


i 


— I- 


i 


c:  vrrj 


vn^ 


The  chord  of  the  seventh  of  ii,  in  the  minor  mode,  difl'ei^f  ^iwtn  the 
above  chord  only  in  its  fundamental  tone,  which,  Ijemg  no  lona^r  tlie  lead- 
ing tone,  is  free;  its  usual  resolution  is  into  the  Dominant:  the  fifth  and 
seventh  descend  a  minor  second;  the  third  ascends  one  degree,  and  the 
fundamental  moves  to  the  Dominant,  (either  ui)  or  down,)  (;S'ee  489  & 
490.)    e.ff.: 

Ex.  138. 


T 


9-: 


M 


a:  II?  V 

The  chord  of  the  seventh  of  seven,  in  the  minor  mode,  is  an  equivocal 
chord,  inasnuioh  as  it  does  not  ])()int  to  any  particidar  Tonic,  and  is 
capabUi  of  a  great  variety  of  resolutions.  Its  primary  resolution  is  into 
the  Tonic;  the  fifth  and  seventh  descend  one  degree,  the  Fundamental 
ascends  one  degree,  and  the  third  is  free,  (see  4:91,  J  e.r/.: 

Ex.  139. 


|i 


■•■     ■#- 


2L*i:eee=] 


— tr^- 

5 

L 

—9- 


U 

3 


3^ 


m 


—I — 


6 
4 


a:  VII, 


VII" 


vn; 


vin 


Past  ni.] 


ILLUSTRATIYE. 


89 


This  chord  may  be  converted  into  a  Dominant  7th  Chord  in  four  difler- 
ent  ways;  thus  making  possible  the  formation  of  a  great  variety  of 
modulations  by  means  of  this  chord.     See  -195. 

Fifsf.  One  of  its  members  may  descend  one  half-st«p.  while  the  others 
remain;  thus: 

Ex.  140. 


a:  ^^I 


Second.     Three  of  its  members  may  ascend  one  half-step,  while  the 
ether  remains:  thus: 


Ex.  141. 


r-3 •— 

• n 

0 — 

— s-*— 

# 

~At t- 

— ^— 

TiS 

— -—• 

tTs      "Z 

m 

•5~~^ 

1*2 

ASu      ^ 

«^_ 

v* 

Bo:V  I.         a:vii; 


.;  V 


=^3 


■0 i^0- 

* ^^ 


^ 


a:  \Tr2 


e:T.. 


a:  \tt; 


rVjrV. 


Remabk. — This  change  from  G%  to  A.l»  (at  * )   is  called  an  Enharmonic  change, 
vtiereoy  the  resolution  is  changed,  without  altering  the  tone. 

TJm-d.     Three  of  its  members  may  descend  one  half-step,   and  one 
l^ecpt]d  a  whole  step;  thus: 

^x    142. 


a:  vn^ 


90 


THEORY  OF  MUSIC. 


[BoosU. 


Fourth.    Three  of  its  members  may  ascend  a  whole  step,  and  one  a 
half-step;  thus: 

Ex.  143. 


m 


a:  tii^ 


f:V„ 


1. 


a:  \ai^ 


d:V, 


A  peculiar  progression  may  be  formed  with  this  chord,  by  causing  all 
the  tones  to  descend  one  half-step,  thus  forming  another  similar  chord, 
which  may  be  resolved  the  same  way;  and  so  on  indefinitely.  (See  496. J 
e.  g. : 

Ex.  144. 

'  'I  I       I 


m 


In  chords  of  the  ninth,  the  fundamental  tone  and  ninth  should  be  kept 
nine  degrees  apart.  It  may  resolve  directly  to  the  tonical  harmony, 
although  its  usual  resolution  is  to  the  dominant  seventh  chord,  the  ninth 
descending  one  degree.  In  four  jiart  harmony,  the  fiftli  is  usually  omitted, 
otherwise  the  chord  would  contain  two  ])erfect  fifths  in  itself,  namely  from 
the  fundamental  to  the  fifth,  and  from  the  fifth  to  the  ninth.  Chords  of  the 
ninth  are  major  in  a  major  key,  and  minor  in  a  minor  key. 


Ex.  145. 


MAJOR  NINTHS. 


or  thus,  in  four  parts.  First  Invergion. 


:e~ 


^■ff-^ 


IS 


1 


6 

5 


i 


pabthl] 


ILLUSTRATIVE. 


Ex    146. 


MINOR  NINTHS. 


in  four  parts.  First  Inversiou.  Second  luversion. 


~-i9- 


r-^'T- — - — =F-+- 


I? 


9 

i 


-S»= 


-_rv= — ^ 


6 
5 

1 


Chords  of  the  eleventh,  and  chords  of  thirteenth,  are  more  easily  ex- 
plained as  suspensions  than  as  fumlamental  harmonios.     (See  372  it  373. 

A  few  chords  are  formed  liy  the  chromatic  alteration  of  fundamental 
harmonies: 

1st.  The  augmented  chord  (which  appears  as  a  fundamental  chord  up- 
on Three  of  the  minor  key,)  is  connnonly  found  upon  Oxe,  Four,  or 
Five  of  a  major  ke\-.  In  its  resolution  the  fundamental  may  either  re- 
main stationary,  descend  five  def  v'^es,  or  ascend  four  degrees;  the  third 
may  either  ascend  a  minor  soconu.  or  remain  stationary;  and  the  fifth  as- 
cends a  minor  second,     (ike  500  k,  501.  J  e.g.: 


92 


THEORY  OF  MUSIC. 


[BooKXi; 


Ex.  147. 


S& 


J5  #5 

^^^ r r — r 


S5 


^    _.    ^     '     «-!  -iTL  ^     ,    *^     '     I       I 

«— 5#— 5 — a-  -« — f -^^m-* t~»t —  —  1 ^-rr*—— I — -1 


f 


£ 


-F- 


r;=:t^=fc^=t:.-t-F»- 


EEEEG 


r       IV'  I'       IV' 

The  inversions  of  the  augmented  chord  may  also  be  used. 
Ex.  148. 


1« 
! 


V 


p=i^f|3^=^ 


«« 


6 
4 


§^ 


:t: 


•=EE=*? 


Firat  inTersion. 

c:  r      IV 


Second  iaTcraion. 

c:  r      IV 


When  formed  upon  the  chord  of  One,  the  major  seventh  maybe  added; 
In  which  case  the  third  of  the  following  chord  must  be  doubled;  e.g.  •• 


Ex.  149. 


.LL 0 #_| 1 1 


6 
5 

f 


Ssi 


-iff — 


±: 


m 


c:  I 


r 


IV 


I 


I' 


IV 


When  formed  upon  Four,  the  major  seventh  is  seldom  added, 
formed  \ipon  Five,  the  minor  seventh  may  be  added. 

Ex.  150. 


Whes 


9- 


:t:: 


6 
19- 


1 


gig^E:^ii^;gi=j 


c:V    V,      I         V     V,    I 


V  V,     I 


f:V    V- 


f  ABT  III.] 


ILLUSTBATIYE. 


vo 


2d.  The  Italian  Sixth,  (augraeuted  chord  of  the  Sixth,  see  384  &  502) 
usually  resolves  inlo  the  Douiiiiaut  harmonv.  (For  rules  of  resolution 
see  r)0'2.)  In  lour-part  harmonies  the  third  only,  (original  hfth,)  can  be 
(li>ubled;  e.'j.  : 


Ex.  161. 


3d.  Tlie  F'-ench  Sixth,  (augmented  chord  of  Sixth,  Fourth  and  Third,] 
■  See  390  &  ;)0.>,)  like  the  Italian  Sixth,  usually  resolves  into  the  Dominant 
iiarmony.     (For  rules  of  resolution  see  505;)  e.g. : 


<7\ 


Ex.  152. 


\^^W^\ 


t% 


9> 


--M 


le^ 


<5> 

^     1 
4     /Tv 


•^^ 


It  is  capable  of  various  resolutions  ;  notwithstanding  which,  beins 
■•lucli  harsher,  it  is  greatly  inferior  to  eitlier  of  the  other  augmented  sixth 
chords.     The  following  are  some  of  its  various  resolutions  : 


Ex    153 


£6 


3 


re 

2 


1 

4 

■J 

~1 


4 


$6       b? 


The  following  examples  will  give  a  more  practical  view  of  the  handling 
of  the  French  Sixth  chord: 


94 

Ex.  154. 


THEORY  OF  MUSIC. 


^'-^M- 


s- 


=5=^ 


-i-ii — t-ii — '- 


"^r"*^^"^*^ 


'WiM 


?-^-^ 


IBOOK  11. 
ROSSINI. 


^m^m-^m^ 


Sing !        sing  and     re  -  joice,       Sing  I      sing  and    re   -  joioe, 


4t.     M.     ^       5: 


\^. 


>-=5ipz2i5^33 


— B — !» — fe — 


-w-'-i»^-'-V- 


._f=_^. 


-#!  Ti*  r.#i 


-^^ 


;i^=^TT^gzg:pri^-UJ    -L^-UJ 


*«( — *^ — *mI —  -1^ 


ig    ^-m 


^  i 


=M-l^r!^^t 


^m^-L  ^  irJ.^5-JL>^|J^-g3|;L-k^^^^^8^g^S-^^ 


I?  i 


■t? — 6»- 


IP. 


From  "  La  Ce7ierentola." 


a-    long;     On  a  clear  and  frosty    morning,  Flitting  onward  with  a  song; 


4th.  Tlic  Gorman  Sixtb,  (Aiignientcd  Chord  of  tlio  Sixth  and  Fifth,  see 
.'59.)  and  50S,)  lias  two  rcsohilions.  Il.s  primary  rcsolulioii  is  to  tlie  |  ol 
the  minor  Tonic  wiiicli,  in  its  turn,  resolves  to  the  Dominant,  e.  y  • 


Ex.  156. 


I 


: ' 4Z — ■- 

r    '  ■   '  ^ : 


Its  secondary  resolution  is  into  the  5  of  the  major  Tonic,  e.  q. 


PaetIIL] 


ILLUSTRATIVE. 


95 


HATDN. 


Ex.   157. 


tn  slow  movements  this  chord  may  resolve  directl\'  to  the  Dominant,  in 
vvnich  case  consecutive  tifths  will  l>e  found  between  the  base  and  the  part 
winch  takes  the  fifth,  (Tenor  or  Alto.)  However,  the  consecutive,  being 
ibetweeu  the  base  and  an  inside  part,  can  scarcely  be  detected  by  the  ear. 


E^x.    158. 


The  above  is  the  only  exception  known  to  the  writer  in  which  any 
Classical  author  uses,  and  defends,  consecutives.  These  chords  were  used 
by  Mozart;  who,  when  criticised  on  account  of  the  consecutives.  said: — . 
"Henceforth  such  consecutive  tifths  shall  Ije  correct."  Even  Mozart  used 
tliem  sparingly:  ami  our  advice  is,  do  not  use  them  at  all. 

f  he  German  Sixth  may  be  converted  into  the  chord  of  the  Diminished 
Seventh  by  causing  the  fundamental  to  ascend  one  half-step.  {See  509.) 
e.  ff. : 


Ex.  159. 


^§1^ 


f- 


:j;^: 


— <s<- 


m 


5th.  The  American  Sixth,  (see  400  and  511,)  has  but  one  resolution,  to 
the  «  of  the  major  Tonic,  like  the  secondary  resolution  of  the  German 
Sixth.  Inasmuch  as  the  writer  claims  the  original  classification  of  this 
chord,  the  following  illustration  of  the  origin  of  tiie  several  augmented 
sixth  chorda  may  set  forth  his  claim  more  clearly: 


9Q 


THEORY  OP  MUSIC. 


tBOOE  II 


ORIGIN  OP  THE  SEVERAL  AUGMENTED  SIXTH  CHORDS. 


"Lx.  160. 


ITALIAN  SIXTH,  OR  AUG.  CHORD  OF  THE  SIXTH. 


I 


Ori^nal  Chord. 


Same  with  .';d 
altered. 


S: 


^^- 


Snuie  witliout 
KundHtuentat 


Ist   invcrsiou  brings 
tlie  Ituliuii  titb,  or 
aug.  6tb  chord. 


:^: 


i 


u 


9* 


-s>- 


-i9- 


f9- 


i 


Ex.  161. 


a:  11° 


THE  FRENCH  SIXTH,  OR  AUG.  CHORD  OF  SIXTH.  FOURTH 
AND  THIRD. 


Original  Cliord. 


I ffi: 


Slime  with  .Id 
altered. 


1st  inversion. 


'M  inversion  brings 

tiie  Freucl)  titli,  oi-  aug. 

6tli,  4tli  &  3d. 


^- 


ig 


m 


$6 


^^ 


-G>- 


-S» 


i^- 


a:II° 


Ex.  162. 


THE  GERMAN   SIXTH,  OR  AUG.   CHORD  OF 
SIXTH  AND  FIFTH. 


Original  Chord. 


P 


Same  with 
niiith 


W 


Same  with  3d 
iilttred. 

Same  without 
Fundamental. 

. 

r^ 

c 

-      ^— 

-— ^--^- 

I    Ut  inv.  brings  tl 

German  6th,  or  aiK, 
I  Gth  &  5th, 


«§ 


'y- 


-&- 


-/» — 


— ji 


-'5' 


j(9 — 


II? 


I 


Ex.  163. 

Original 
Clu.rd. 


% 

9= 


# 


THE  AMERICAN  SIXTH. 


Same  with 
ninth. 


Same  witli  :id. 
f)th  &  Itli  alt. 


g 


Snme  without 
Kuiulnmental. 


-|«= 


Ut  TnvcraloD. 


'b^= 


$6 

hi 


5d  inv,  brinps 
American  6tb. 


a:  II? 


-&- 


-&-- 


'W^- 


^i£=^g 


Pabt  III.l 


ILLUSTRATIVE. 


97 


The  writer  cl*'',ns  the  original  classification  of  this  last  chord  for  the 
folluwiirj,-  rcasoiis:— He  has  lieeu  uiialih!  lo  liiul  it  u  tlie  works  of  luiy 
oilier  aiiUior,  iicitlier  Is  il  mentioned  among  the  Altekkd  Chords  liy  any 
theorist,  so  far  as  he  lias  been  able  to  find  liy  diligent  research.  Tliat  it 
is  correctly  built,  is  acl^nowledged  at  once  by  all  the  theorists  with  whom 
he  lias  had  an  opportunity  of  conversing.  Its  claims  may  be  stated  in  a 
nut-shell:  It  is  correctly  built;  It  is  not  the  Italian  Sixth,  as  it  is  not 
made  up  of  the  same  intervals  and  resolves  differently;  It  is  not  the 
French  Sixth  for  the  same  reasons;  It  is  not  the  German  Sixth  (although 
it  closely  resembles  it),  inasmuch  as  it  consists  of  a  third,  four f/i,  and 
sixth,  instead  of  a  third,  jifth,  and  sixth;  It  is  not  capable  of  the  primary 
resolution  of  the  German  Sixth;  for  example: 


Ex.  164. 


KESOLUTIONS  OF  THE  GERMAN  SIXTH. 


m 


Primary  Resolution 
I 


i^x 


S^lE^f  = 


Secondary  Resolution. 

1 


Or  in  very  elow  movemeQla, 
I 


5 


4      H 


-fS> — 


^^E^z 


' H  .1 ii: 


It  will  lie  seen  at  a  ijlance,  hy  comparing  the  above  example  with  the 
fallowing,  that  the  t>vo  chords  are  not,  and  cannot  by  any  possibility  be 
CQn.strued  the  same. 


Iijt.  165 


BESOLUTION  OF  THE  AMERICAN  SIXTH. 


Its  only  Resolution. 
I 


This  resolution  is  essentially  ilic  same  as  the  secondary  resolution  of 
f.he  Gcniuui  Sixtii,  bin  it  is  mu-li  hcttiT  for  voice-leading,  as  will  be  seen 
in  the  rollowiui;-  exaiiiijle.  in  wh.cli  the  .\ll()  can  sing  F-sliarp  iiiiich  more 
easily  than  they  can  sing  G-llut. 


Ex.   166. 


THEORY  OF  MUSIC. 


^/CN 


[Book  11 


k-*— *r^ 


11^ 


-^— 1»— 1«— fi'— 


vF23: 


Glo-ry    to  God,  Glo-ry  to  God.      Glo-ry   to  God,  G!o-ry  to  God. 


-H— N- 


:I2^: 


-N-S- 


lilt 


N— N- 


^ P> 1 1 r» — n 1--,-, P"i Pi 1  -,- — , !»,— f> 1 


Glo-ry  to   God,  Glo-ry  to  God.      Glo-ry  to  God,  Glo-ry  to  God. 


_-  ^- 


-lz^± 


"^~^^^^"""'^M1 


Gei-man  Sixth. 


^  American  Sixth. 


Suspensions  occur  when  the  progressioii  of  one  or  more  tones  of  a  cliori' 
is  (lelaj'eil  until  the  others  have  formed  the  component  parts  of  tlie  follow- 
ini!;  chord.  (See  404,  and  529  to  541.)  The  characteristic  of  the  suspeiisiori 
is  a  discordance  aa;ainst  the  harmony  witli  wliich  it  enters.  Three  essen- 
tial points  in  the  suspension  must  be  taken  into  consideration,  namely: 
Preparation,  Entrance   and  lie.sohition. 

It  is  yirepnrnl  when,  upon  an  unaccented  jnilse  in  the  previous  chord, 
it  i.s  taken  by  a  voice  and  carried  by  that  voice  over  ii>to  the  following' 
chord. 

Its  entrance  takes  place,  when.  ai)on  an  accented  pulse,  it  forms  a  dis- 
sonance a2;ainst  the  rulinii;  haruKJiiy. 

Its  resolution  must,  as  a  rule,  take  place  upon  the  following-  unaccented 
pulse. 

Preparation  may  take  place  through  either  member  of  the  Triad,  or  llu? 
Dominant  Seventh,  e.g.: 


E.X.  167. 


Through  the  octavo  of 
the  funduinentul. 


Through  the  3d. 


Through  the  5th. 


Throut'r  the  V)oni,  Tlh. 


8. 


^^illflSii^iSimi 


Su.spen.sions  can  occur  before  the  octave,  and  before  tlie  third,  o.so  fjt- 
Tore  the  liltli  in  certain  positions. 


Part  m.] 


ILLUSTRATIVE. 


99 


Ex.  168. 


Before  the  Octave. 

',.=^ i 


Before  the  3d. 


>       Before  the  5th.         ( 


Not. 

I  I 


— 1 1- 


t      i 


liiteii^ 


fSSt 


-I \- 


The  tone  which  is  delaj'ed  bj'  a  suspension  may  not  be  taken  l)y  any 
other  part  except  tlie  base,  and  they  siiould  be  kept  nine  degrees  apart. 


Ex.  169. 


Not. 


Better. 


•^==^ — ' — • — ^-0 ^0 ■ 


t~-0—^^  — ,         ■ 


Suspensions  do  not  remove  the  eflect  of  consecutive  fifths,  or  octaves; 


Ex.  170. 


Bad. 


Bad. 


m^^^^^ 


Suspensions  may  be  formed  from  below. 
Ex.  171, 


9-f 


From  belov. 


=tp 


The  chord  which  accompanies  tlie  suspension  need  not,  necessarily,  re- 
main iiiitil  the  resolution  takes  place,  but  may  progress  to  any  possible 
harmony  which  contains  a  tone  that  will  resolve  the  suspended  tone. 


EDWIN  A.  WALES 

100  THEORY  OF  MUSIC. 


[BooKli 


Ex.  172. 


I 1 


5: 


}^ — *     - 


* *B-*^r 

'» WT^ 


:'^$f 


-&-^. 


One  or  more  tones  may  be  taken  between  the  suspension,  and  its  reso- 
lution; thus: — 

Ex.  173. 


1^ 


■'         '     •  111'"' 


'^- 


-g: 


I 


The  part  wiiicli  has  tlie  suspendeil  tone,  can,  immediately  after  thr  i&^ 
solution,  i)ass  through  several  chord-touts,  while  the  other  tones  ot  the 
chord  are  hold;  til  us: — 

Ex.  174. 


— i — f #  '  I    ;  * — ^—\  I — i — ' — I 


^ 


■»•  -i9- 


jSI.  .^9- 


m 


Instances  sometimes  occur  in  which  a  suspension  h.'is  no  resoli'tior, 
•J-' 

Ex.  175. 


i^fc 


-"■v-  • 


i^ 


-«'_•_ 


3=^ 


pabt  nij 


ILLUSTRATIVE. 


101 


Such  instances  arise  from  tho  omission  of  the  resolving  tone.     TIk- 
above  example  would  be  something  like  the  following  if  correctly  resolved. 

Ex.  176. 


The  2  chord  often  appears  as  a  double  suspension ;  e.  g: 
Ex.  177. 


i^Epi^fc^ 


6 
4 

19- 


-i9 


::z:s" 


i 


Suspensions  of  three  parts  may  occur;  e.  g: 
Ex.  178  

--4 ! 


d: 


-<9- 


9- 


-/9- 


-»- 


Anticipation  is  the  reverse  of  suspension,  and  occurs  wlien  a  voice 
abandons  a  tone  which  is  proper  to  a  chord  before  the  metrical  division 
leads  us  lo  expect  It,  and  in  its  stead,  taltes  a  tone  which  belongs  to  ti>e 
succeeding  chord,  and  retains  it  until  the  other  parts  follow.  (-SVf  407. ) 


Fx.    179. 


Anticipation  in  the  Soprano. 


^^ ^5 


I- 


S-E 


~SL 


«2— : 


I 
-I — 


^'O- 


2S 


JSL 


■i9- 


-i9- 


<9 ' 


r 


A 


102 


THEORY  OF  MUSIC. 


[Book  il. 


^ 


In  the  Base 


-<&' 


-6>r- 


¥ 


^ 


In  several  voices, 

t:=:::3=d; 


"g — 


-(S*- 


1^ 


-(2- 


i-*^ 


-i9- 


-<& 


-<9 1 


^ 


-«?- 


=^e 


Anticipation  must  not  I)e  confoundpil  witli  aynco'pnlion,  wliicli  simply 
brealvs  up  the  regular  rhythm,  but  does  not  introduce  dissonant  tones, 
e.  g: 

Ex.  180.  SYNCOPATION. 


I 


A- 


-G- 


.OT- 


-?-^- 


-^a- 


^Egl:3 


A  cadence  is  the  end  of  a  musical  expression  or  thought,  (see  542  to 
551.)  There  are  six  varieties  of  Cadences;  namely:- Perfect  Cadence, 
Inii)erfect  Cadence,  Half  Cadence,  Plagal  Cadence,  Deceptive  Cadance, 
and  Suspended  Cadence. 

If  a  thought  or  expression  ends  with  the  Tonic  triad  in  the  1st  posi- 
tion, [preceded  by  the  Dominant,  it  is  called  a 


Ex.  181. 


PERFECT  CADENCE. 


i 


^ 


^ 


r^ 


2 a ft. 


-i — 

-i — 


"^ 


-^: 


If  tlie  thought  or  expression  ends  with  the  Tonic  triad  in  the  2d  or  3d 
position,  preceded  by  the  Dominant,  it  is  called  an 


Ex.  182. 


IMPERFECT   CADENCE. 


-^=3= 


-••■#■-»■     •»- 


tMz 


-^^_ft. 


-0- 


:diz:: 


r 


:32=3 


r- 


Part  III. 


ILLUSTRATIVE. 


If  an  expression  ends  iu  tlie  Dominant  liarmony,  it  is  called  a 
Ex.   183.  HALF  CADENCE. 


d: 


lyiE'E 


-P P- 


=P= 


-i9- 


If  the  end  of  the  expression  is  the  Tonic,  preceded  by  the  Sub-dominant, 
it  is  called  a 


Ex.   184. 


/T\ 


PLAGAL  CADENCE. 
OR  ; 


/'7^ 


122: 


-&■ 


i^ 


-t'*l 


-#- 


/TV 


:-^: 


A 


men. 


9: 


f: 


tc^^ 1 h- 


i--^^ 


/CN 


m 


If  at  tlie  end  of  an  expression,  the  dominant  harmony,  instead  of  re- 
solving into  the  tonic  harmony  as  we  expect,  resolves  into  some  other 
harmony,  thereby  deceiving  our  expectations,  it  is  called  a 

Ex.  185. 


^=S- 


DECEPTIVE  CADENCE. 


—  0- 


MOZABT. 


~v- 


-H — 
-JSTZ 


^  i= 


1^ 


4.^^ 


If  at  the  end  of  an  expression,  the  dominant  harmony  is  delayed  until 
the  base  has  taken  its  place  upon  the  tonic,  on  an  accented  pulse  of  the 
final  measure,  such  cadence  is  called  a 

Ex.  186.  SUSPENDED  CADENCE. 


-«*— ^ 


75^ 


— I— 


-4- 


:g=i: 


jsi 


I 


104 


THEOB     '/t'  MUSIC. 


[Book  II. 


A  Pedal  Point  or  Organ  Point  is  an  arrangement  whereby  the  Tonic,  or 
Dominant,  (sometimes  both, )  is  prolonged  by  the  Base,  while  the  upper 
voices  pursue  their  haniiouic  movement  without  any  apparent  reference 
to  it.     [See  552  to  560  inclusive. ) 

Care  must  be  taken  that  the  upper  parts  form  of  themselves,  a  perfect 
three-part  composition,  capable  of  producing  a  good  efTect  if  heard  alone, 
jet  adapted  to  the  general  spirit  or  character  of  the  whole.  It  is  also 
necessary  that  the  pedal  passage  should  commence  with  the  harmony  to 
which  the  prolonged  tone  belongs,  return  to  it  frequently,  and  Anally  con- 
clude with  it.     Abrupt  progressions  should  be  avoided  in  a  Pedal  Point. 

If  the  prolonged  tone  be  the  Dominant,  the  Plagal  Cadence  must  not 
be  employetl. 

The  lowest  of  the  three  upper  voices  assumes  control  of  the  three-part 
movement,  and  all  harmonic  progressions  must  be  controlled  by  it,  al- 
though the  prolonged  tone  may  sometimes,  accidentally,  so  to  speak,  be- 
long to  the  same  harmony. 

When  the  prolonged  tone  is  held  by  one  of  the  upper  voices,  it  is  called 
a  Stationary  Tone :  in  which  case  the  three-i)art  harmony  should  be  kept 
more  quiet,  rarely  introducing  foreign  harmonies;  for  tiie  reason  tiiat  ihe 
upper  parts  do  not  possess  the  power,  which  is  ])eculiar  to  the  base,  of 
counter-balancing  harsh  effects. 

The  following  is  a  specimen  of  Organ  Point  on  the  Dominant: 


Ex.  187. 


ROSSINI. 


Pa  -  ra  -  di  -  si.  Pa  -  ra  -  di  -  si,  Pa  -  ra  -  di  -  si,  Pa  -  ra  - 


Glo 


SI5S^= 


^^: 


—ffS>- 


-i9- 


Glo 


Tart  III.] 


ILLUSTRATIVE. 


105 


-=it^.i=ht(5^ 


SI. 


,U-lo 


fefe:^==d 


\^ 


p'«^ 


-»-♦-♦-*— [->g' — 


11  -  u. 


n 


-N 

9--  <^- 


Wz^i 


-«>- 


-6^- 


n  -  a. 


-#— '-S' 


li 


n  -  a. 


Sequences  are  of  two  kinds  ;  (.see  411  and  561,)  namel}',  Chord  Sequen- 
ces, and  Phrase  Sequences.  A  chord  sequence  is  one  in  wliich  several 
[■lioi'ds  follow  each  other  in  a  similar  harmonic  manner.  In  forming  a 
ihurd  sequence  the  parts  should  move  by  similar  intervals;  each  part,  if 
Lalcen  alone,  should  be  regular  and  self-consistent :  and  the  whole  se- 
quence should  extend  over  four  or  more  successive  accents;   e.  (j.: 


Ex.  188. 


fe= 


) — ^ 


^- 


%■      -»-    -^- 


:i- 


a 


i 

r- 


-i2-  42— 


-«>— 


i2_ 


It  will  be  noticed  at  ti  and  h  that  the  rule  for  the  resolution  of  liu' 
diminished  lifth  is  violated  ;  which  leads  to  the  remark  that  our  nuisica' 
perceptions  suffer  more  from  lack  of  syinmetiy  than  from  lack  of  jjare  liar- 
iiiQuic  progression  ;  hence,  in  such  cases,  rules  are  not  considcn'd 
binding. 

A  phrase  sequence  is  one  in  which  a  phrase,  which  is  called  the^'yi«-e, 
is  repeated  at  a  higher  or  a  lower  pitcli ;  e.  .'/.  ; 


Ex.  189. 


GOUNOD. 


# — 0—0---^ — I 


106 


T&EORT  OF  MUSIC. 


[BOOKII. 


1st  repetition. 


1 


T- 


;^ 


•2d  repetition. 


:!?- 


^ 


•^  

Iliddeu,  or  covered,  fifths  and  octaves  occur  when  two  parts,  starting- 
at  diflerent  intervals,  move  in  similar  motion  to  a  fifth  or  octave,  {see  567 
to  575  inclusive.)  The  reason  why  they  afl'ect  the  ear  disagreeablj' is  in 
the  fact  that  our  perceptions  supply  all  the  tones  over  which  each  part 
passes,  and  which,  if  written  out  in  full,  would  result  in  open  consecutives ; 
e.  a.  : 


HIDDE>"  FIFTHS. 


HIDDE>"  OCTAVES. 


Ex.   190. 


*      • 


I 


There  are  instances  where  these  progressions  are  not  positively  dis- 
agreeable; namely:  1st.  if  the  upper  part  moves  but  one  degree ;  2d,  if 
they  are  between  an  outside  and  an  inside  part;  3d,  if  they  are  between 
inside  parts;  4th,  if  one  or  both  the  other  parts  move  in  contrary  motion, 
or  remain  stationary;  and  5th,  when  the  Base  moves  one  degree  and  the 
chords  are  bound  together  by  a  seventh ;  e.  (j. : 


Ex.  191. 


Upper  pftrt 

morea 


0«tftTea  between  an 

outside  and  an 

imide  part. 


Fifths 

between 

inside  part«. 


Tbe  other  two  parrs 

moTe  in 

contrary  motion. 


Base  moTes  one  degiM 
and  the  chorda  are 
bound  bT  a  SeTeath. 


J    ■  * * —   -, \ 


m 


jL^z*- 


-* — I 


Covered  fifths  and  octaves  in  outer  parts  are  considered  faulty  if  both 
parts  skip;    e.  g.  : 

Ex.   192.  COVERED  FIFTHS.  COVERED  OCTAVES. 


^ 

— • — 

^^^ 

1       _ 

M — 

-H 

Pabt  UL] 


ILLUSTRATIVE. 


Covered  octaves  which  pass  over  a  minor  seventh  must  be  avoided. 

e.  g.  • 


Ex.  193 


^: 


-0 ■ 


iiiiiiis 


Covered  Fifths  and  octaves  which  are  formed  Ijy  inversions  of  tli« 
same  chord  are  not  faulty;  for  the  reason  that  consecutive  faults  involve 
l)rogressiou,  and  when  chords  simply  change  position,  or  are  inverted, 
they  do  not  progress;   e.  g.  : 


Ex.  194. 


1^1 


Cross  relation,  or  False  relation,  occui-s  when  a  tone,  which  is  sung 
Ijy  one  voice,  is,  in  the  next  chord,  chromatically  altered  and  given  lo 
another  voice.     (.S'"e  576. )  e.  g.  : 


Ex.   195. 


9i=i: 


'm 


This  fault  can  i)e  avoidt'd  by  giving  the  altered  tone  to  the  same  voice 
which  contained  the  unaltered  tone.   Thus  the  above  e.xamples  would  lose 


heir  disagreeable  eflect  if  arranged  as  follows : 


f 


;^- 


1 


^s..  196. 


9== 


-#f 


THEORY  OP  MUSIC. 


[Book  n. 


Passing  tones  are  such  as  are  foreign  to  the  harmony,  and  are  intro* 
duced  for  the  purpose  of  embellishing  the  melody.  Tliey  always  follow 
the  chord-tone,  and  rarely  progress  by  skips.     {See  415  and  416.)  e.  g.  : 


Ex.  197. 


-•-■te 


fi«£?E^ 


s: 


ifti^ia: 


^'-0 


-6^- 


Passing  tones  are  both  diatonic,  (as  at  «  in  the  above  example,)  and 
chromatic,  (as  at  6.) 

The  pass  presupposes  an  interval  sufficiently  large  to  aOmu  ol  me  nui'o- 
duction  of  an  iuteriiiediate  tone.  Thus  between  E  and  G,  in  the  following 
example,  we  might  introduce  F;  between  G  and  A  we  can  have  Gt; 
e.  y.  : 


Ex.  198. 


fe=^ 


^Et 


I 


The  interval  from  E  to  F  is  too  small  to  admit  of  an  intermediate  tone; 
and  yet  we  sometimes  feel  the  necessity  of  keeping  up  the  motion  which 
has  been  begun  by  a  series  of  passing  tones ;    e.  g. : 


Ex.  199. 


•-5E 


#-S#-«- 


'6>- 


I 


The  animation  of  the  passage  is  seriously  impeded  at  E.  Tlhs  maj  be 
remedied  in  two  ways;  first,  Ijy  repeating  the  tone  E,  (as  at  a.  iu  the 
following  example.)  and,  second,  l)y  introducing  a  tone  which  belongs  to 
tlie  liarniony,  (as  at  h.) 


Ex.  200. 


i^ 


0^0^^- 


b  or 


W"     I      ^?"" 


—    1  -  ■         I     ■     .     '     n 1 —  '  — *  ■     —- ^ 


iiarmouic  Tones,  thus  introduced,  are  called  By-tones. 


PART  III.] 


ILLrSTRATTTE. 


109 


Ex.  201. 


lu  tlio  above  example  the  passing  toues  are  marked  x,  and  the  By- 
tones  0. 

Chauging  tones,  although  simihir  to  passing  tones,  (and  by  soniS 
theorists  called  passing  tones,)  are  distiugui.shable  from  them  by  the  fact 
tliat  they  enter  with  the  harmoni/.  and  may  appear  in  skips.  They  can 
be  either  chromatic  or  diatonic,  and  may  be  formed  either  above  or  below 
the  harmonic  tone.  If  formed  below-  they  naturally  incline  to  the  distance 
of  a  minor  second  from  the  harmonic  tone.    (See  417  and  418.) 


coco 


Ex.  202. 


o      c      o      c      o 


ggg^^ 


r 


The  following  example  gives  a  mingling  of  Passing  toues,  (marked  x,) 
By-tones,  (marked  o.)  and  changing  tones,  (marked  c.) 


Ex.  203. 

O       X       c       o      o       o 


CHANGING  TONES  and  PASSING  TONES. 

C        O        C        X        O        X 


m 


-Uti-  t-M-^- 


:^^- 


O       X       c       o       o       o 


-^?^ 


#  5# 


T^t' 


g 


p»- 


8m. 


OOOXOX   OXOooo   cocxox   oxcooo 


^^H^£g*i^^^^jp^^^^'ifc^^ 


*  hgr. 


■^1 


-•^4- 


-.«»• 


-•*■ 


1 — 


4 


110 


THEORY  OF  MUSIC. 


[Book  J  I. 


When  a  scale  passage  occurs  in  the  base,  the  other  parts  should  have 
c\ior(ls  only  upon  the  accents.     {See  581.) 
Ex.  204. 


§1^: 


^^-4-j^=J-*" 


I 

1 — i-J-#' — 1 


3- 


^li^tt? 


OXOXOO        0X0X00 


o    X    o    X    o    o 


o    o  o    o    o    o 


:— 11=:: 


ii 


9«i 


#  ^ 


^  •: 


*  * 


-(S-- 


:=t 


O     X    O     X     o    o 


O    X    o    o    c    o 


OXOXOO 

Modulation  takes  place  when  tlie  liome  feeling,  or  tonic,  has  taken  a 
new  position.     (5'ee  514  to  528.) 

Wlion  tlie  change  of  the  home  feeling  is  of  short  duration,  only  consist- 
ing of  two  or  three  chords,  it  can  liurdly  l)e  said  to  rise  to  tlie  dignity  of 
a  Modulation,  and  is  therefore  called  a 

DIGRESSION. 


Ex.  205. 


-^ ^ 


&- 


~zr 


i^ 


fj: 


'721 


-&— 


Modulations  may  he  oflected  witliout  foreiuii  tones.  Hence  if  the  above 
digression  were  written  as  follows,  the  eluiimc  would  be  just  as  surely 
made. 


Ex.  206. 


±Ml 


I 


-^ 


aiEEjE 


J: 


Past  ni.] 


ILLUSTRATITK. 


HI 


Whenever  the  tones  of  a  kej'  are  so  arranged  that  tlieir  relations  have 
changed,  centering  around  a  new  Tonic,  niodulaliou  has  taken  place. 
This  is  done,  in  many  instances,  several  measures  before  the  sign  of  the 
new  key  appears.  Note  the  following  example,  in  which  the  home  feeling 
centres  around  a  new  Tonic  just  as  decidedly  as  though  the  sign  occurred. 
The  only  reason  why  it  does  not  appear  is  because  our  melody  did  not 
happen  to  require  it. 


Ex.  207. 


Key  of  C. 


:a: 


^-0—0- 


Key  of  G. 


The  principal  chords  used  in  modulation  are  the  second  inversion  of  the 
triad,  (I  chord,)  the  Dominant  seventh  chord,  and  the  chord  of  the  di- 
minished seventh. 

In  the  following  example  the  ear  recognizes  the  new  key  as  soon  as 
the  I  chord  is  heard.  The  fact  of  the  modulation  is  confirmed,  however, 
by  the  Dominant  seventh  chord  which  follows. 

Ex.208.  C  to  G  Major.  C  to  E  Minor. 


* 

^ 


3 


1^e[ 


^ 


«- 


m 


6 
4 


7 


^ 


■>9- 


-h 


r:=± 


-«^ 


Remakk. — For  some  of  the  capabilities  of  the  chord  of  the  diminished  seventh  as  a 
«ieaus  of  modulation,  see  pagt&  S9  and  90. 

The  following  are  a  few  instances  of  modulation  Ijy  means  of  the  Domi- 
nant seventh  chord : 


Ex.  209. 

C  to  F  Major. 


C  to  A  Minor.        C  to  Ely  Major. 


etc  A|j  Major. 


— '^ — '-• — f^0--^ — '-•  — %—yt9 — '-# — ?# — ^v~ti»     ' 


112 


THEOlvf  OF  MUSIC. 


[BooKiL 


It  remains  to  remark,  filially,  that  no  kej'  which  is  brought  about  by 
modulation  should  be  used  as  the  final  key,  but  couipositions  should  enu 
ill  the  key  in  which  they  commence;  and  that  a  composition  should  never 
end  with  an  inversion,  the  final  chord  should  always  be  direct.  The  old 
composers  went  so  far  as  to  say  that  all  compositions,  whether  major  oi 
minor,  should  end  with  a  major  triad.  The  following  is  an  instance  of 
such  closing: 


Ex.  210. 


-■^ — ^ — N — N 


"^-dm 


fcH i ^- 

K* — m — m- 


#-# ^-^ 


:t: 


ip: 


-h 


-^- 


.±=±n^i-: 


fet§^^ 


Pec-ca-ta  mun-di, 


Pec  -  ca  -  ta     muu di. 


When  a  minor  composition  ends  with  the  Plagal  Cadence,  it  is  stil] 
usual  to  close  with  a  major  triad. 

We  cannot  find  a  more  fitthig  way  of  ending  this  chapter  on  modula- 
tion than  by  inserting  a  complete  Vocabulary  of  Modulation,  in  wliicli  will 
be  found  a  modulation  from  any  major  key  to  all  major  keys  ;  also  from 
any  major  key  to  aU  minor  keys.  The  modulations  arc  arranged  alpha- 
betically, I.  e.,  from  C  to  all  keys;  then  from  r>,fl'it  to  all  keys:  then  from 
D  to  ail  keys,  etc.,  so  that  any  particular  modulation  may  be  readilj 
found. 


'ART  in.]  ILLUSTRATIVE. 

VOCABULAKY   OF   MODULATION 


113 


Ex.  211.    C  to  D!j. 

I        i 


MODULATIOlSlc 
Ex.  212.    C  to  D. 


Ex.  213.    C  to 


—M—lZiJaZM — -_ — U^ — s  -  -0 — •»  ,<>  \-)^  i.^_ — '  0\iy  -4^ 


-'WZ%~- 


|g 


^--5^12.^^,-^ 


-1^ 


— — ?^- 


:^,-2^ 


Zii' : 


Ex.  214.    C  to  E. 


Ex.  215.    C  to  F. 


Ex.  216.   CtoGfeaudri. 


-T&- 


-?*- 


"2* •""122? 


.^ c 


I 


^b- 


^    -^    J!±l?*--i2^-^, 


^.^ 


f=bCT 


Ex.  217.    C  to  G. 


Ex.  218.    C  to  .\!j.         Ex.  219.    C  to  A. 


9r 


"  -#  -• — 


_«_ 


3=^? 


^ 


Ex.220.    C  to  Bjj.        Ex.221.    C  to  B. 


'  •  ; .  .  ; t  ■— 


Ex.  222.    Dfe  to  D. 


9J=;;=»= 


=«^M 


f4?: 


a^^£ig 


Ex.  223.    Db,toE|j. 


Ex.224.    DjjtoE.  Ex.225.    DfetoF. 


:|l§J^iiiipSi:-a^|3i^ 


.^-i.—^ 


.fi. 


J2-  M.   ^   ^ 


m 


1 


lU 


THEORY  OF  MUSIC. 


[Book  U. 


Ex.226.    D(^toGfeandF$.    Ex.227.    Dij  to  G.      Ex.228.    D|j  to  Afe. 


^s=m^^M^^^^^ 


9=-ais^ 


i»— #- 


:lttil=l 


I 


Ex.  229.    Djjto  A 

1        ! 


Ex.230.    DfetoBfe.    Ex.231.    Dfe  to  B. 


.^_.,     . 


j2. 


grgP^^El^-^^^ 


Ex.  232.    DfcrtoC. 

fe:-2:l 


!:— ^ — 0<^»-<0—G'- 


Ex.  233.    DtoEb-  Ex.  234.    D  to  E. 


-i?^- 


ii^ 


-S2 


Ex.  235.    DtoF. 


Ex.  236.  DtoFjfandG.    Ex.  237.  D  to  G. 


I 


—  1-^ — -   , 


•— •-#«^'5' 


^— 1 


s.5?ie=»"i  1(4- td 


^^ 


--!—«- 


Jilt 


r^i*- 


•J*T] 


•  \-^     ■*- 


Ss 


-^   -#- 


^  -0-  -0-  -^fe-#-   - 


Ex.  238.    DtoAl,. 


^ 


Ex.  230.    Dto  A. 

I 


m 


Ex.  240.    DtoBjj; 

l_ ' ^- ' 


I 


-F F i 


I 


^m 


lAKT    HI.] 

Ex    241.     DloB. 

ii L:x_L. 

ff*- >& •-»•- 


ILLUSTRATIVE. 

Ex.  242.    DtoC. 


115 


Ex    243.    DtoDI,. 


i_ ^ i— J-t 


9« 


ji=g=g: 


^f^^-t=^ 


^i^- 


-90—0- 


-«>- 


T r 


Ex.  244.    Efe  to  E. 


Eii.  £45.    IfetoF.      Ex.  246.  B^toGjandF}. 


-^-b 


fr^5»— • 


::;«=t 


Ex.  247.    EljtoG. 


Ex.  248.    E'jtoAlj.        Ex.249.    B?  to  A. 


il-^5? 


-2»- 


'-t7- 


-0 — 0- 
\        '  - 


-^ — i — r 

Ex.  250.    E^toBj. 


^— »^ 


'3^W- 


-l«— •- 


^->^ 


-ffl- 


a=fcF^' 


•z*at?; 


I 


Ex.  251.    Ei2toB.         Ex.  252.    Efe  to  C. 


tk^ 


-• — *- 


-(5^ 


Ex.  253.     I^toDfe. 


Ex.  254.    Ei^toP.        Ex.  265.    E  to  F. 


'^'•^ 


-^-9^ 


'|:. 


no 


THEORY  OF  MUSIC. 


[Book  II. 


Ex.256.     EtoFJandGbr.       Ex.257.    E  to  G.  Ex.258.    E  to  A|j. 


1 


i^¥^:^ 


-(S-- 


^^5p 


r:^ 


:ci!!F; 


Ex.  259.    EtoA. 


-feS 


S3^ 


:«-it=J=>2 


Ex.260.    EtoBfc,.         Ex.261.    E  to  B. 


.-l2^. 


gi||"l3N=l^^^^-H-=P^g^^^ 


Ex.  262.    E  to'  C. 


Ex.263.     EtoD(j.  Ex.264.    E  to  D. 

I  1 


:iifcip?r:gii;^iii 


^ 


Ex.  265.    EtoEjj 


ft 


Ex.  266.   F  to  Oi^  autl  Fit.  Ex.  267.    F  to  G. 


pfe 


.0-^^—0- 


:fe- 


? r-H 1 


-iS- 


M 


-jir-«- 


:] 


Ex.  208.    FtoAjj. 

I       i 1 


Ex.  269.    r  to  A. 

I      !      , 


Ex.  270.    F  to  Ely. 


-«<- 


i* 


'     '  !     '    '  *  I  I  ■  *  r—  I  -...■■    -I 


Part  m.] 


ILLUSTRATIVE. 


117 


Ex.271.        FtoB. 


Ex.  272.    FtoC. 


Ex.  273.    F  to  Djy. 


'9- 


-«9- 


(t—^. 


-<9- 


Ex.  274.    F  to  D. 


Ex.  275.    FtoEfe. 


Ex.  276.    F  to  E. 


F3-srr— l2il=i 


_;.J ^ 


-«> — 


:,^^ 


g 


Ex.  277.       FJtoG. 


Ex.278.    FJto.\(j.        Ex.279.    FftoA, 


aitegEgE 


? 


# 


ii_Ei^|:^^i 


Ex.280.        F$toBt  Ex.281.    FJ  to  B.  Ex.282.    FJtoC. 


— ^^:_jf 1 — nnxL 


Ex.  283.       FJtor%. 


Ex.  284.    FJtoD.         Ex.285.    rjtoE(j. 


118 


THEORY  OF  MUSIC. 


[Book  II. 


Ex.  286.       FjftoE 


Ex.  287.    FJtoF.  Ex.  288.    GtoAfe. 


Ex.  289.       GtoA. 

ji  III 

-ff- 


Ex.  290.    Gto%  Ex.  291.    GtoB. 


P^i: 


s; 


-#-fe^-rv 


Ex.  292.       G  to  C, 


Ex.  293.    GtoDlj. 
'  .    1 


Ex.  294.    GtoD. 


-«- 


t-M: 


-i9-*-*-*^ 


•— «-h5 


^i- 


*— ^— '-2,-i?-#-l^ 


2i^ 


-^1 — ^— « 


—  •--» 


i 


Ex.295.       GtoEIj.  Ex.296.    GtoE.  Ex.297.    GtoF. 


:irr:E^"^i^j 


Ex.298.    GtoFjf&GI,,        Ex.299.    Aj^toA.        Ex.300.    A|jtoB|r. 


:i»i?zr=:; 


?ABT  III.] 

Ex.  301.    AfjtoB. 


ILLUSTRATIVE.  HQ 

Ex.  SOS.    AjjtoC.         Ex.  303.    Afe  to  Dfe. 


,  t-^b-J-ii-L_-^ r r J i -I 

"it  -•■  1 


Pg^^JEJigEEggs 


-(S"- 


2ji: 


-t- — ^ — i©*- 


^-6*- 


Ex.  304.    AjjtoD. 


Ex.  305.    AjjtoEfe.        Ex.  306.    Ajj  to  E. 


-*— * — *   '•irj — \~^ ^ — • — i — ^ — |— ^  **-#->-r*l'BS^ — I 


^— 1«- 


-flZ- 


tptrr^-j^^g: 


Ex.  307.    AljtoF.  Ex.  303.   Ajj  to  %aiKl  FJ.    Ex.  309.  Aj,  to  G. 


-ij— |7-fa : ^ 


52- 


Ex.  310.     AtoBb. 


Ex.  311.    AtoB.         Ex.  312.    A  to  C. 


*t=^ 


%^ 


i*b. 


h-ht-^h 


9*isS=9_|?=»— b »— ar-»— 'g -V- ^^— i*-t: 1 


Ex.  313.    Ato% 


Ex.  314.    AtoD.  Ex.  315.    A  to  Ejj. 


ibiJ  3fiL's: 


120 


THEORY  OF  MUSIC. 


'Book  II. 


Ex.  316.    AtoE, 


Ex.  317.    AtoF.        Ex.  318.   AtoFJandGlj. 


Si 


lEE8= 


d=4^ 


ii 


'>9~ 


-^— ^- 


Ex.  319.    A  to  G 


:fc*- 


Ex.320.    AtoAlj.        Ex.321.    B[j  to  B. 


i5fc=Ft=^^ 


-i«- 


l=^=i  l-E  J^^^I^Jfe^fe^5|:^^^^ 


— •^^ 


^iiii^l:=l^ 


^:^%g__^. 


EEE-|^ 


Ex.  322.    BijtoC. 


Ex.  323.    EfetoBfe.       Ex.  324.    B(j  to  D. 


-f9 


i^iPi^gl^ip^lgij 


>  -^ 


1— ^ — ^-p-»— »- — ,-  ^ — I*— #— •• 


Ex.  325.    BjjtoEfe. 

I 


Ex.  326.    BfetoE.  Ex.  327.    B|jtoP. 


■ffrK9 1^ — «— «-bi 1-;!? rS«~« — ^ii A    ie> — * — « — «— 4 


ir4;=^f=P=i= 


<»-- i^ M 


,*_!3^._    _  s? ,. 


i^En^iE^i^Hil^^^^:] 


Ex.328.    Bl^toGtramlOJ.    Ex.329.     B^toG.       Ex.330.    B|j  to  A|^. 


PAST  in-1 


ILLUSTRATIVE. 


Ex.331.    B|?'.oA.  Ex.332.    B  to  C. 


121 
Ex.  333.    BtoDI,. 


Ex.  334.    BtoD. 


Ex.335.    BtoEfe.       Ex.336.    BtoE. 

I       I 


^l-e^-s---s-i^,-^ 


'^-#- 


^: 


.^2- 


-iic 


Ex.  337.    BtoF. 


Ex.  338.  BtoFJaudGij.  Ex.  339.    BtoG. 


|iE3 


9# 


P| 


-^-^0--, 


■^^\{^ 


m 


Ex.  340.    Bto.\|y. 


*i 


Ex.341.    BtoA.  Ex.342.    B  to  BI7. 


i#: 


-i5!- 


:t?r 


irb^ 


^,fe=f^fe 


1^- 


15'- 


•— P= 


is. 


5» — *- 


-G>- 


MODULATION   FR01\I  MAJOR  TO  MINOR. 
343.  C  Maj.  to  Cf  Miii.       344.  <"  :\Ia.i.  to  T)  Miii.    345.  C  Maj.  to  E|j  or  DJ Miu. 


'-1?' 


222  THEORY  OF  MTTSIO.  IBooK  II. 

346.  CMaj.  toEMin.        347.  C  Maj.  to  F  Miu.    348.  CMaj-toFJorGfeMin. 


-/9- 


-#— #— ^ 


-iff—. 


-^— ^ 


-# — # 


i^^ 


349.  C  Maj.  tn  (xMiu.  350.  C  JMaj.  to  Ajj  Jlin.      351.  C  Maj.  to  A  Miu. 


'CTL^im—. 


9lizs=^fzS*z=?: 


g^"! 


:2P=P= 


-b(5'-"--r' 


-1^— 


-i2- 


J 


352.  C  Maj.  to  B|j  Min.        353.  C  Maj.  to  B  Min,        354.  C,Maj.  to  C  Miu. 

J L  -  ' 


-i9- 


.0^(2- 


4Ms 


-0—^—p- 


-O.- 


355.  Dfe  Maj.  to  D  Miu.        356.  D|?Maj.  toEl^  Min.  357.  Dfe  Maj.  to  E  Min. 


j2. 


iSl^ 


?f:^ 


« — #- 


:^.f-*-ft- 


.«». 


.:cziE 


:^z 


358.  Dfe  Maj.  to  F  Min.  359.  DfeMaj.  toG(jMin.  360.  Dj?  Maj.  to  G  Min. 


jsl        ^  ^ 


.?5^§l^^ 


^^gggE^^3gg 


Part  UI.] 


ILLUSTRATIVE. 


123 


361.  r^Maj.  to  AfeMiu.        362.  Djj  Maj.  to  AMin.    363.  Dfe  Maj.  to  BfeMin. 


-i&- 


-t5^ 


-iS"- 


-q^-H«- 


-^ — ^ 


I.   I J 


364.  Db  llaj.  to  B  Miu.  365.  Dfe  Maj.  to  C  Min.    366.  Dfeilaj.  to  CJMin. 

n L,_^ L—l — \ . ': — ! 1 . uJ i ; . 


9:rb:t=^=^^ 


-^— ^«- 


^^ 


:?^2; 


-.©- 


-iZ- 


-(^-?t 


g#-5^--^ 


-*i-C 


lfzg?=^ 


^ 


367.  D  Maj.  toEjy  Min.        368.  D  Maj.  to  E  Min.     369.  D  ^Lay  to  F  Min. 


:i. 


I  i 


% 


_^32srr^=ri;2^ 


-g-?g»^#-ji^-!?g>- 


-^- 


3 — • 


-, — •-?• — -5'- 


-f9  ■-  -m-'f^ 


Pg^ 


-iZ. 


E 


_?5^ 


-^ 


SIE 


370.  D  Maj.  to  Fjf  Min.  371.  D  Maj.  to  G  Min.     372.  D  Maj.  to  Ajj  Min. 

o_# ! ' ' _J ^^_  ^^J 


S 


-^^^^ 


373.  B  Maj.  to  A  Min. 


374.  D  Maj.  to  Bfe  Min.    375.  D  Maj.  to  B  Min. 


m 


m 


4-  i  ■■..  ^ 


L*©- ^- 


!?^_ , ^ 


124 


THEORY  OF  MUSIC. 


[Book  II. 


376.  D  Maj.  to  C  Min 

^1 


377.  D  Maj.  to  Cfi  JVIin.     378.  D  Maj.  to  D  Miu. 

I 


^ifij— <; 


-#-#- 


-,«;-       -i2- 


=lr?S=Ei=E^EE 


379.  Efe  Maj.  to  E  Min.  380.  Efe  Maj.  to  F  Min.     381.  E[jMaj.  toFJMin; 


^ ft* — 


fT^e*— »- — 


1--!^ 


«*- 


=^ 


-!5- — 


-ff: 


i*Efef^ 


382.  EIj  Maj.  to  G  Alio.  383.  Ejj  Maj.  to  A\f  Miu.  384.  E|y  Maj.  to  A  Min. 


--g- 


-'^— '-'-^--fe- 


-^2^*?H-J(^  t#-K^ 


=Sl=^ 


336.  ^t  Maj.  to  Bt  Miu.        386.  i^  Maj.  to  B  Miu.     387.  Efe  Maj.  to  C  Min. 

'        '        '   -  11=  I        !       I 


V-^" 


JZiMzZis 


— ^-t*— -#,  >--->'!? S—  •— *--fcd — 


-<?- 
f 


-i:^_. 


— ^--S^=.ll^Z£ 


388.  EJy  Maj.  to  Dj,  Min.        389.  Eij  Maj.  to  D  Min.     390.  El?  Maj.  to  E|j  Miu. 

I 


i^^i^iEi^imi 


•—»—•- 


E=£==J 


Part  III.] 

391.  EMaj.  toFMin. 


ILLUSTRATIVE. 

392.  E  Maj.  to  FJ  Min.     393.  E  Maj.  to  G  Min. 


T=T 


^94.  E  Maj.  tu  Gjf  Min.  395.  E  Maj.  tu  A  Min.    396.  E  Maj.  to  B|j  Miu. 


m 


■s> — ' 1 — *i — ■^ 

I*  — « — *-^^^^ 


-<9 

-6^ « — 


filp-^- -•-•-• 


:'ztf-g~r-* 


i2_^ 


,Mc^- 


r- 


l^^3=£E^^?E^ 


387.  E  Maj.  to  B  Min.  398.  E  Maj.  to  C  Miu.    399.  E  Maj.  to  C$  Min. 


1 n-"^ -I — -I r- 


-ilm^Ci^ 


-«|- 


^'S. 


• -ij*— »- 


-m—^—n 


X- 


400.  E  Maj.  to  D  Min. 


40  1  E  Maj.  to  E|y  Min.    402.  E  Maj.  to  E  Min. 


g:!*  ^^^ 


-0—0- 


%% 


I 


-#-l?f«— 1 


ig~if~'— ^ibs'-fiscz 


#— ^— ^ 


=r:^l — 5?- 


;3 


403.  F  Maj.  to  Ff  Min,  404.  F  Maj.  to  G  Min.    405.  F  Maj.  to  A|j  Min. 

^  I  !  .  I  :  I 

— /- 


r5:=:^ 


iE^^ippl^li^^^fi^ 


gliE;;Ei^»=p5^>^ 


— 1^- 


^w--~w^ 


I.-9- 


J 


■^OQ  THEORY  OF  ftiUSIC.  [BOOK  II 

406.  FMaj.  to  AMin.  407.  F  Maj.  to  Bfe  Miu.    408.  FM^.  to  BMiu. 

1 


m 


-iS> — 0- 


-T-ii'-f 


-tS>-         -19- 


^¥^W- 


m^^m^mm 


409.  FMaj.  toCMin.  410.  FMaj.  to  Djj  Min.    411.  FMaj.  to  D  Miu. 

I 


-;, ^— f— »^-j-^=p-^— ^*-^^— F^^Zlfz^— »    1 


^l 


=^;:*= 


^-p#— #- 


-0—0- 


i 


412.  F  Maj,  to  Efer  Min.  413.  F  Maj.  to  E  Miu.      414.  F  Maj.  to  F  Min. 


-^-w- 


§^i 


-(S*- 


•— #— * 


z^^ 


#-?T 


~i5'- 


3Eg^j 


415.  FJMaj.toGMin. 


416.  FJMaj.  toGjIMin.  417.  FJ  Maj.  to  A  Mm. 


siite^i^ 


r=: 


— ^^ — I — r 1- ^ — - 


»_,f 


fc 


418.  F$Maj.  toBjjMin.  419.  FJtMaj.  toBMiu.    420.  FJ  Maj.  to  C  Min. 


'<i^ 
-»«- 


^=^-1 


Past  III.] 


ILLUSTRATIVE. 


1 


I 


421.  Fjfllaj.  to  Collin.  422.  FJMaj.  toDMin.    423.  FJf  Maj.  to  Efe  Min. 


^7^ 


#^'   X0      P      P 


-^C/-- 


^?^Si=fe=te^i^^ 


424.  FJ  Maj.  to  E  Min.  425.  TJ  Maj.  to  F  Miu.    426.  FJMaj.  to  F]f  Miu. 


^ 


ri*-#- 


^•!l5J-_«_i2- 


7cr_ 


-I — "•aa 


'al^^^ 


-^-P- 


427.  G  M^.  to  GJ  Min.         428.  G  Maj.  to  A  Min.      429.  G  Maj.  to  Bfe  Miu. 

I  '       I       1  ■  .11 


4f^?f ^ •-i«-'f^» 1 # a 1 y>j—\ <9-U.9* *~-W 


■!-H 1 


i^l^^^zg 


1^1 


-^9- 


-#— *^ 


a 


# — #- 


430.  G  Maj,  to  B  Min.  431.  G  Maj.  to  C  Min.      432.  GMaj.  toDjjMin. 


^i^^ 


m. 


JZ •_ 


-i2 #_ 


-# — »- 


:s-i;, 


>-is=i: 


-^— «^T- 


S^ 


I 


433.  G  Maj.  to  D  Min.  434.  G Maj.  to  E^  Min.     435.  G  Maj.  to  B  Miu. 


-I — I  i„i 


^:r 


->«—•-#- 


£g=iE^^E!p:^lp¥^5^=z^^^^ 


128 


THEORY  OF  MUSIO. 


[Book  II. 


436.  G  Maj.  to  F  Min.  437.  G  Maj.  to  FJ  Miu.    438,  G  Maj.  to  G  Miii. 


■9-S->9- 


^ME^^^^^^^^^^^?=r^-f-^ 


439.  Afe  Maj.  to  A  Miu.        440.  Ajj  Maj.  to  B\}  Miu.    441.  A|j  Maj.  to  B  Min. 


'«^- 

b. 


442.  Afe  Maj.  to  C  Min.  443.  A|j  Maj.  to  D\y  Miu.  444.  &b  Maj.  to  D  Min. 


-s 


W- 


^ 


-J: 


_J I \ ^ J  -J \ . kb-UJ-b . 

'--^ — #-t«i,— (&-L-«5' ^_ii*_l^i5'_L  ^  §-•- V|, S— J 


xi=^:=tz=:=ir 


44.5.  Ajy  Maj.  to  %  Min.  446.  A|j  Maj.  to  E  Min.     447.  Af^Maj.  to F Min. 


la&Es 


\4-z^-±L 


:_i-j±_f if*  a^ : 


3t-# 


4=5=q 


448.  A(7  Maj.  to  Ff  Min.        449.  Al?  Maj.  to  G  Miu.    450.  AJy  Maj.  to  A\,  Min. 

I       I 

J- J : ^4- 


g— ^-*  b*  f-i 


"l r 1  ■'  ^ 


Part  III.] 


ILLUSTRATIVE. 


129 


i.")l.  A  Maj.  to  B^  Min.  452.  A  Maj.  to  B  Min.    453.  A  Maj.  to  C  Min. 


u 


-0 — 0- 


-i9- 


■i5>- 


:^i 


W=^ 


itia: 


454.  A  Maj.  to  CJ  Min.         455.  A  Maj.  to  D  Miu.    456    A  Maj.  to  E^  Min. 


m^^^^E^^E^m^f^t^f^^?^^ 


457.  A  Maj.  to  E  Min.  458.  A  Maj.  to  F  Min.     459.  A  Maj.  to  FJ  Min. 


t 


-^-^^m 


sp-^#-q»-ff^- 


-»^-^ 


1 


460.  A  Maj.  to  G  Min.  461.  A  Maj.  to  GJ  Min.    462.  A  Maj.  to  A  Min. 


&Efe!=i5^=r.^ 


—     11--.     -I 


p|#€=^-fe^_S-^ 


^5}J: 


It: 


— F 1 — a — sT — ^ 


5# — 0- 


<9~ 


-0     C      P- 


m 


4C).S.  B^  Maj.  to  B  Min.        464.  B^  Maj.  toC  Min.   ^465.  B^Maj.  to  D^  Min. 

fcp^=r=;j=:t=l;r=r:|:=:j=ji^:_^|."., j=q-T==: 


:5^.. 


-B- 


uM^^^^^^mm^ 


m^ 


-fZ—, 


ia 


• — 0- 


l^*- 


pg=^g="=f^=EfJ££gE^ 


3?_  - 


i:]u 


THEORY  OP  MUSIO. 


(Book  II. 


466  By.  Maj-  toDMin.         467.  BIj  Maj.  to  Elj  Miu.  468.  BMaj.toEMin. 


m:^ 


-0 0- 


-G>- 


^ii$=::=^=rz^.f=l^'^ 


1^ 


-!&- 


mm 


i  I 

469.  B  Maj.  to  F  Min.  470    B  Maj.  to  F|  Min.    471.  B^Maj.  to  G  Miu. 


^^it^^iprp^^*^ 


— 1^- 


^^^^^=^^ 


-<9- 


liZTt 


472.  Bk  Maj   to  A)y  Min.         473.  B^Maj   to  A  Miu.    474.  Bjj  Maj.  to  B^  Min. 


§^ 


.,_•- 


r^ 


'(«»- 


t:^— ^— r-^ 


^^^=^EEis"^ 


475.  B  Mai.  to  C  Min 


476.  BMaj.toC$Min.    477.  B  Maj.  to  D  Min. 


-zz. 


^i^^=f=: 


:p=b: 


E£E|EJ 


478.  B  Maj.  to  E|j  Min. 


479.  BMaj.toEMin.    480.  B  Maj.  to  F  Min. 


r-y 


Part  ill.] 


ILLUSTRATIVE. 


131 


48 1.  B  Maj.  to  FJt  Min.  482.  B  Maj.  to  G  Min.    483.  B  Maj.  to  GJ  Min. 

Li     iW 


"^Mi 


'^^^^=\e^3 


a/-s#— # 


niflg?: 


»—•—»— — I 

1 — I J 


484.  B  Maj.  to  A  Min.  485 .  B  Maj.  to  Bfe  Miu.    486.  B  Maj.  to  B  Min. 


^^ 


-b«_ 


— ^^ 


-# — 0- 


-<s>- 


487.  ASCENDING  BY  HALF-STEPS. 

Cto       DKtoDteEKtoEto^toGfe 


^^^it^H^fM^' 


^^ 


f 


F^ 


toG         toAfetoA         toBlytoBtoC 


l^^^^^^^^^pi 


iiES 


=»?: 


?«>- 


te 


^*£ 


4f- 


I 


488.  DESCENDING  BY  HALF-STEPS. 

C        to       B       to       1%     to       A       to      Ab-      to       G.      to      FJ 


iil=ii-(t 


^"S-i'Sig: 


g=^=^^g=|^=)^.:^^ftp%=|>=g^|g^ 


132  THEORY  OF  MUSIC.  [Book  II 

to        F         to        E         to       F.\)         to       I)  to       Ct       to        C 


i 


=4 


i=m 


H- 


Mi=«1=«i^W^^i^#s 


489.        ASCENDING  BY  STEPS.  490.     DESCENDING  BY  STEPS. 

C         to  D         to  E  C  to         B|j         to         Ab- 


i 


I 


4^^-l- 


-4- 


^ 


-4- 


:^ 


^^r"^-^' 


:^,=ig=^^^r=l 


-«^ 


g^ggg^^^l^g^^^^ 


491. 


ANOTHER  WAY  OF  DESCENDING  BY  HALF-STEPS. 


C  to  B 


B  toBij 


B(j  to  A 


I 


#= 


-#—2^ 


-« — »«- 


I 


4=^ 


J ^- 


A  to  A\y 


AfetoG 


G  to  FJt 


-^ 


|l|-l-^^jF=^^^--^f^V--it-|.— ^^ 


15^ 


^ 


i_fc 


'«- 


1 


^_gi=:i:^- 


:=± 


^jgj 


G|7  to  F 


F  to  E 


E  to  Eiy 


i^^^^^i^^ 


r:il?^=u!!-^!— g- 


|^z^i=to» 


±1 


gg^^=[^l^^^ 


t"A«T  III.] 


Efe  to  D 


ILLUSTRATIVE. 
D  to  ])\j 


D^  to  C 


^=^^= 


-fir 


492.  ANOTHER  WAY  OF  DESCENDING  BY  HALF-STEPS. 


^^ 


9- 


^^e; 


^3 


134 


THEORY  OF  MUSIC. 


[Book  II. 


ILLUSTRATIONS  OF 


PART     FOURTH. 


(TJie  figures  refer  to  correspondinrj  questions  in  Part  TV.) 


A  succession  of  tones  which  is  regulated  by  the  hiws  of  rhythm,  is 
called  a  Tone-chain.     C&e583.) 

There  are  three  kinds  of  Tone-chains,  viz. :  ascending  tone-chains,  de- 
scending tone-chains,  and  vague  tone-chains.  An  ascending  tone-chain 
is  one  in  which  the  tones  progress  from  low  to  high.     (See  584  ) 

A  descending  tone-chain  is  one  in  which  the  tones  progress  from  iiigh 
to  low.     (See  585.) 

In  a  vague  tone-chain  are  combined  the  characteristics  of  lioth  the 
others.     (See  b^Q.)  e.y,: 


Ex.  493. 

AsMDCling  tone-chain.  Descending  tone-ohdn. 


Vagne  tone-chain. 


A  vague  tone-chain  may,  in  a  general  way,  be  either  an  ascending  one, 
or  a  descending  one.     (See  589.)  e.g. : 


Ex.  494. 


J=r:d:- 


The  iiio.^t  satisfactory  tone-chain  is  the  diatonic  scale,  for  the  reason 
111  il  it  liotli  commences  and  ends  upon  the  Tonic.  The  Tonic  heinu'  the 
|Miiiitof  repose,  all  that  pnit  of  the  scale  which  is  not  Tonic,  namely.  2, 
?>,  4,  C>.  i;  iinij  7,  i!*  call('(l  niolion.     (S<'e  5!):5  to  5!»5. )  e.g.: 


Ex.  495. 


*: 


Repose. 


::1: 


Repose. 


-t*- 


-^—0- 


^-* 


^—0 


lis: 


1 


The  indetlniteness    with  which  one  tone  follows  another  in  the  abov» 


t'ART  IV.l 


ILLUSTRATIVE. 


I'xaiiiple  maj'  be  oliviated  by  dividing  thera  into  groups,  or  measures,  by 
means  of  strong  and  weak  pulses,  thus: 
Ex.  496. 


^^jE^mm 


Being  regulated  bj-  rliythni,  it  has  now  become  a  melody;  (see  591)  but 
it  is  very  one-sided,-  all  tension-  and  seems  to  demand  a  corresponding 
relaxation,  whicli  being  supplied,  gives  a  more  gratifying  result,  thus: 

Ex.  497. 


3 


3 


Here  we  have  two  melodic  phrases,  ^one  all  exaltation,  and  the  other 
all  relaxation.  Tlie  first  excites  expectation,  hence  we  here  call  j^  Thesis; 
the  second  satisfies  our  expectations,  and  so  becomes  Ati  if  thesis.  But 
winle  each  of  these  phrases  begins  upon  a  strong  pulse,  it  ends  with  a 
weak  one,  thereby  producing  an  unsatisfactory  feeling;  it  would  be  bet- 
ter if  both  beginning  and  ending  were  satisfactory.  This  will  necessitate 
tlie  introduction  of  eighth  notes,  thus: 

Ex.  498. 


i 


f 


X 


x: 


::t 


:^"^^ 
*_,_^i^=i 


In  the  last  two  measures  of  the  first  phrase  we  have  a  new  form,  thus: 
Ex.  499. 


i 


-^-* 


-"22: 


Forms  which  contain  the  germs  of  thought  are  called  designs.  (See  596. 
With  the  above  design  we  can  re-construct  our  scale,  as  follows: 

Ex.  500. 


Thus  our  Designs  liave  cryslalizcd  into  Plirases,  the  Phrases  into  Sec- 
tions, and  the  Sections  into  a  Period.     (See  G15.) 

Designs,  Phrases,  and  Sections  may  be  repeated  to  form  other  Periods. 
'.Vhen  so  repeated  they  should  not  always  be  used  in  the  same  form ;  they 


THEOUT  OF  MUSIC4, 


fBooKEt. 


should  be  altered  or  transformed,  but  should  always  be  recognizable. 
There  are  many  ways  in  which  we  may  transform  a  design;  among  which 
may  be  mentioned, — 

1st.  Traxsposition;  A  design  is  transposed  if  it  is  repeated  at  a  higher 
ur  a  lower  pitch.     (See  600.)  e.g.: 

Ex.  501. 


Tranapoflitioiu. 


3=4 


1 


I 


2d.  Expansion.     A  design  is  expanded  when  it  is  made  up  of  larger 
intervals.     C&e  601.)  thus: 


Ex.  502. 

Design. 


m 


Expanded. 


Design. 


Expanded. 


^ — I- 
— #- 


m 


3d.  Contraction.  —A  design  is  contracted  when  it  is  made  up  of  small 
er  intervals.     (See  602.)  e.g.: 


Ex.  503. 


Deaira. 


PI  0    Deaign.  ( 


E=^ 


4th.  Augmentation.  —A  design  is  augmented  when  the  time  value  of 
each  note  is  doubled.  (See  603. )  e.g.  : 

Ex.  504. 


Design. 


Aujmentod. 


-a!—* 


—a>- 


_^_-_ 


i 


Pesign. 


A!l-'mented. 

0-' 


'^g:^^^^^^m 


5th.  Diminution.     A  design  is  diminished  when  the  time  value  of  each 
note  is  lessened.  ^SV'e  604.)  e.g.: 
Ex.  505. 

Design.  DiminiBhed.  Design.  Diniiniahed. 


l^l^Elig 


-^0 


^3L 


il 


6th.  Repetition. — The  fragments  of  a  design  may  be  repeated,  thus: 
(See  605.) 


Past  IV.] 


ILLUSTRATIVE. 


Ex.  506. 

ft  h 


Repetitioiis. 


g^ 


It  may  be  well  to  state,  however,  that  in  this  kind  of  amplitication  the 
oriyiiiul  design  is  sub-divided  into  three  parts,  or  germs,  eacii  of  wiiich  is 
repeated  as  ah'eady  sliown,  and  as  indicated  by  the  letters  a,  b,  c.  Germs 
combined  in  this  way  form  what  are  called  motives. 

7th.  Omission.  -  One  or  more  of  the  fragments  of  a  design  may  be  omit- 
ted.    (See  606.)  e.r/.: 


=F*  T^   *=l 


8th.  Cha.vgixg  the  order  of  tones.  — The  members  of  designs  may 
■  be  introduced  in  a  difTerent  order,  an  octave  above  or  below,  even,  with- 
out altering  the  rhythm.  (See  607.)  e.rj.: 


Ex.  508. 


Change  of  the  order. 


^L^^S,: 


f^^f^ 


PP^ 


9th.  Reversing  the  order. — This  is  done  by  beginning  with  the  last 
tone  and  going  backward,  without  altering  the  rhythm.  (See  608.)  e.g.^. 

Ex.  509. 


Design. 

^■ 

Reversed. 

Design. 

y       1 

^^ 

■   • 

'    0                  '      •«•-                1 

— TTT— s»^ 

i 

Kmt 

^*- 

#    ' 

-  :         •  -J  -^ 

! 

r' 

Si     •- 

"^" 

-• 

*  V"* 1 

'-» a 

-^ — 

fc- 

•        •  #  • 

Reversed. 


•ZMHiZ^W 


10th.  Combinations  of  fragments  of  different  designs  result  iii  a  great 
Tariety  of  new  designs.   (S^e  609.)  e.ri.: 

Ex.  510. 

^^.  Pbrm  — — ^ 

1X1  -^  3  —  * 


p 


S=i: 


138 


THEORY  OF  MUSIC. 


[Book  H. 


The  fragments  of  the  above  phrase  may  he  so  combined  as  to  make  a 
whole  period,  with  no  two  measures  alike. 


Ex.  511. 


COMBINATIONS  FROM  MEASURES 

2£1  4&3  H,3 


^^ 


=P^: 


1*4 


2A3 


241 


1 


41-2 


-J- 


-I 1- 


-# •- 


*:#: 


441 


1&2 


:=i: 


-1- 


llth.  Inversion  takes  place  when,  commencing  upon  the  same  degree, 
(he  tones  progress  in  an  opposite  direction;  (see  61Q)  thus: 
Ex.  512. 

Design.  Inverted.  Designs.  Inverted. 


~d   • 


-0-^- 


-Sr- 


^    J^ 


-0-^0   ^0-T^ 


Several  of  these  modes  of  transformation  may  be  applied  to  the  same 
motive,  at  the  same  time.  Thus  a  motive  may  be  transposed  and  invert- 
ed ;  or  transposed  and  reversed ;  transposed  and  expanded ;  transposed, 
inverted,  and  expanded,  etc.,  thus: 


Ex.  613. 


Transposed  and  expanded. 


-#■  '        -0-       •0—frit-0-  -r 


Ex.  514. 


Motire. 


Trans,  and  Inyerted. 


}-^—0    0-0- 


Ex.  515. 


mm: 


-jr-ii.-*^ 


Trans,  and  Inverted. 


^J^3^^^^f=g^g^^]3^ 


Ex.  516. 


E^EEgE^i=:^_»L|^f^^/=^^— E^ 


Pabt  IV.] 


ILLUSTRATIVE. 

Trans.  iSTnted  uid  leadened  b;  raiKtition. 


139 


Ex.  517. 


Ex.  518. 

Truu.  and  expanded.  SiotiTc. 


Trans.,  expanded  and  inverted. 


Most  of  wluit  are  called  church  tunes,  ami  choral.-*,  are  written  in  the 
song-form  of  one  period.  They  should  l)e  so  constructed  that  the  first 
]ihrase  will  excite  expectation,  which  shall  l)e  only  partially  answered  by 
the  second,  thereby  leadins  to  a  reiteration   in  the  third  phrase,  and  a 


final,  complete  and  satisfactory  conclusion  in  the  last, 
of  the  song  form  of  one  period  is  the  tune  Seymour. 


A  good  example 


Ex.  519. 


g 


h 


-9 r 


H^d  phrdK« 


J       k       I 


i 


S=i: 


* — #- 


-» — »-#- 


mSi  iihnscm 


■4tb  phrases 


^d  sccdoiiM 


The  germ  from  which  this  tune  was  developed  may  be  seen  at  a;  trans- 
posed at  6;  transposed  and  diminished  atr;  contracted  at  e  and/;  ex- 
panded at  ^;  inverted  and  expanded  at  /;  transposed  and  diminished  at 
./■;  diminished  at  k:  and  transposed  at  L  It  will  be  noticed  that  the  sec- 
ond phrase  only  partially  answers  the  first,  inviting  a  reiteration  in  the 
third,  which  is  fully  answered  in  the  fourth. 

As  an  illustration  of  the  song-form  of  two  periods  we  will  call  attention 
to  Dr.  Mason's  Missionary  ITvmn,  "From  GreenlamTs  icij  Mountains." 


E-.  520. 


aal  PERIOD. 


Jid  phruc 


«4th  pimafM 


140 


THEORY  OP  MUSIC. 


[Book  II. 


ad  PERIOD. 


"2d  Period.— Continued. 


1           ■           1 

r— - 

O      - 

3d  phrase^ 


■4th  phrasea 


I 


It  will  be  noticed  tliat  the  first  plinise  gives  out  the  proposition,  which 
is  twice  repeated,  (in  third  and  seventh  phrases. )  lu  the  last  phrase  of 
the  first  period  we  find  a  digression  into  the  key  of  the  Dominant,  which 
impels  us  to  proceed  to  the  new  motive  in  the  first  and  second  phrases  of 
the  second  period;  these,  in  turn,  lead  us  back  to  the  original  proposition, 
which  we  find  answered  completely  in  the  final  phrase.  Having  once 
started,  we  are  pushed,  so  to  speak,  througli  iihrase  after  phrase, — with 
no  stopping  place  until  we  get  to  the  end  of  the  first  period;  and  there  we 
are  only  allowed  to  halt  long  enough  to  comprehend  that  it  is  no  place 
for  permanent  repose;  and,  taking  In'cath,  we  launch  into  the  second  pe- 
riod, througli  which  we  are  carried  by  the  same  imi^elling  power,  until, 
almost  out  of  breath,  we  arrive  at  the  last  tone  of  tlie  final  phrase,  glad 
enough  to  get  liome. 

In  the  Song-form  of  three  periods  tlie  second  period  usually  makes  a 
more  decided  digression  from  the  first,  to  which  it  returns  in  a  very  com- 
plete manner  in  the  Third  period.  This  tliinl  period  generally  takes  the 
form  of  a  chorus,  whicli  contains  the  animating  designs  of  the  song.  It 
is  hardly  necessary  to  illustrate  this  Song-form,  as  reference  can  be  made 
to  almost  any  of  what  are  called  songs  with  chorus. 

In  our  illustrations  of  the  higher  Art-forms,  (from  this  point  onward,) 
we  find  it  much  more  convenient  to  leave  the  realm  of  vocal  music,  and 
lead  the  student  into  the  instrumciiUd  works  of  tlie  great  masters.  This 
need  not  discourage  the  vocal  student,  however,  for  a  column  can  never 
l)e  broader  than  the  jiede.=;t:il  niion  which  it  stands;  and  the  vocalist,  or 
vocal  teacher,  will  l)e  l)y  so  inucli  tlie  better  ))repared  for  his  life-work  if 
he  obtain  a  comprehensivo  view  of  these  great  foundations  of  art  struc 
tiu'c.     liursuiiig  our  upward  course,  th(Mi,  m'o  come  next  to  the  Ai'I'lied 

SoNG-FoKM. 

Th«!  applied  Song-Form  is  a  composition  consisting  of  two  or  more 
melodies,  (or  song-forms.)  so  related  as  to  form  one.  Its  plan  is  Theme, 
Trio,  Theme,  (for  a  more  definite  explanation  of  the  Aiiplied  Song-Form, 
see  questions  627  to  634  inclusive.) 

For  illustration  of  the  Applied  Song-Form  w(!  will  take  Franz  Schubert's 
Mirmetto  in  V,  minor,  Op.  7S.  It  consists  of  a  Theme  of  three  periods,  a 
Trio  of  three  periods,  after  which  the  Themes  is  repeated. 

The  following  is  its  plan.     The  first  period  of  the  Theme  begins  thus: 


Part  IV.] 


ILLUSTRATIVE. 


141 


Ex.  521. 


FIRST  PERIOD. 


T'-r—r 


The  second  i)eriu(l  hej^ins  tlms: 


Ex.  522. 


SECOND  PERIOD. 


^^ 


^ 


_l 


-J— ^— 


H -+ 


lXc_ 


16  measures. 


ll^fe 


-#-— • — m—0- 


— I — I — I- 


m 


thfc  lir'Sl  Period  of  IS  measures  is  then  repeated,  after  whicli  an   intro- 
duction of  cwo  measures  leads  to  the  tirst  period  of  the  Trio,  thus: 


Ex.  523.         jnlrndui-tinn  of  2  measures. 


TRIO.  1st  PERIOD. 


k=>^^: 


6^^ 


§*?i£i2il^ 


^^=^Et4^fefEi 


■i^- 


T- 


8  measures. 


The  second  period  of  tlie  Trio  l)(>i;;ins  thus: 
Ex.  524.  2d  PERIOD. 


SJiEfei: 


~&cd 


:S,J, 


-^  8  measures. 


gj#ip 


-^ — ^ 


I 


142 


THEORY  OF  MUSIC. 


[Book  II. 


After  an  interlude  of  2   measures  the  third  period  of  the  Trio  follows, 
I)02,innin2,'  thus: 


luterlutle  of  two  measures. 


Tliird  [>orioil  of  Trio. 


:i;|k=fe 


After  which  the  Theme  is  repeated. 

For  further  illustrations  of  the  Applied  Song-Form  see  Wollenhaupt's 
'•  Whispt'rini/  Wiiitls,"  and  Gottschalk's  "Marchede  Xuif." 

Counterpoint  [see  635  to  640)  is  that  ilepartinent  of  musical  science 
vvhieli  has  for  its  object  the  securing  of  a  flowing  movement  of  the  separate 
voice  parts.  In  counterpoint  a  melody,  which  is  called  (jottus-fennns  >s 
given,  to  wliich  is  added  one  or  more  flowing  voice-p.irts;  tlie  part  or 
parts  so  added  being  called  the  Counterpoint  (*S'ee  Note  to  635.)  A  plain 
counterpoint  has  a  uniform  rhythmic  movement  of  one  note  for  each  note 
of  the  melody,  (anitns-fcrmiis)  called  "note  against  note,"  or  "two 
against  one,"  «fcc.,  which  motion  is  maintained  throughout  the  period. 
The  following  is  an  example  of  Plain  Counter[)oint  of  "two  against  one:" 


Ex.  526 


Cantus  fermus  in  Soprano. 


Counterpoint  A  Uafle 


In  the  following  example  the  Base  takes  tlus  Cantus  fermus,  and  th» 
Soprano  the  Counterpoint. 


Couuterpoint  in  Soprano. 

I        '        1  .        L 


Cantus  fermus  In  Hut. 


Pabt  it.] 


ILLUSTRATIVE. 


143 


A  florid  Counterpoint  is  one  having  a  diversidecl  rliytbmic  motion. 

Ex.  628.  Cantus  fermus  m  Soprano. 


CHERUBIM. 


CounUrpoiDt  in  Base. 

Tlic  Futile  is  a  caniposition  in  two  or  more  parts.  A  phrase,  which  is 
caih>(l  llio  Sul)jpct.  appears  in  one  part,  and  then  proceeds  to  another 
|)art,  then  to  a  tliird,  and  a  fourtli-  &c.,  {See  641  to  646  inclusive.)  The 
principal  parts  of  a  Fugue  are  the  Subject,  Response.  Counter-subject, 
Pedal-point  and  Stretto;  which  are  illustrated  from  Bacli's  fugue  in  F, 
No..  11  of  the  ''Well-tempered  Clavier,"  Book  I.  The  subject  is  given  out 
by  the  Tenor  voice,  which,  having  completed  it,  goes  through  the  passage 
a  to  the  Counter-suljject,  thus: 


Ex.  529. 


RespoDBe 


Subject. 


^-» 


0* 


5^?ES!^1=^= 


Counter-aubjeci. 


In  this  Fugue  tlie  Pedal-point  is  made  on  A  in  the  base,  continuing 
nearly  five  measures.  At  the  same  time  a  Stretto  is  aflected  by  the  en- 
trance of  the  Alto  with  the  subject  in  the  third  measure,  when  tlie  Soprano 
has  only  lialf  finished  the  subiect  begun  in  the  first  measure.  The  Stretto 
is  completed  l)y  the  entrance  of  the  base  with  the  subject  in  the  fifth 
measure,  when  the  alto  is  lialf  tlu'ough.  This  division  of  the  Fugue  con- 
cludes with  a  cadence  in  D  minor,  as  liere  given : 


Ex.  530. 


^1  Subject 

'J  (Stretto.) 


-t^ 


THEORY  OF  MUSIC. 


[Book  n. 


gsei 


'11 


Imitation  is  tlie  ivpi^ition  of  a  plirase  or  period  whicli  lias  already  ap- 
l)eared  in  another  voice-part,  {See  647  to  G49  inclusive.)  There  are  three 
chief  varieties  of  imitation,  viz. : 

Strict  Imitation; 

Free  Imitatiox;  and 

Imitatiox  by  contrary  motion. 

Strict  imitation  repeats  the  exact  irogressions  of  the  original  subject; 
e.  g.: 

Ex    531.        Subject.  Imitatiou  a  fourtli  below. 


— T=i: 


9-=^: 


-i r- 


In  Free  imitation  the  melodic  progressions  of  the  original  phrase  are 
not  strictly  repeated,  but  intervals,  either  larger  or  smaller  than  those  of 
the  original  phrase,  may  be  used,  c.  f/.  ; 


Ex.  532. 


Subject. 


Free  imitatiou  a  sixth  above 


Or  this. 


i^z^ntM 


•Fi 


E 


^3 


In  imitation  by  contrary  motion,  upward  intervals  are  imitated  by  down' 
ward  ones,  and  vice  versa,  e.  g. : 


Ex.  533. 

Subject. 


i 


Sti'ict  im.  conti-ary  motion.    Free  im.  by  contrary  motion. 


t n 

i ^    \  *  r 

-• —\ 

;    11    i 

1 

-L# 1-.— # 

1   1  .  ■  .,  i  ,     ,  '  •  ' 

*—^ 1 

-<s«- 


Strict  Canon  is  no  more  nor  less  than  strict  imitation,  (.see  CoO  to  656, 
inclusive.)  e.  g.: 
Ex.  534.        Strict  cauon  in  octave.  From  J.  C.  Lobe. 


--4 a «g- 


0_ 


-  -jg-w — : w      r 


PART  IV.] 


ILLUSTRATIVE. 


mWmm 


— •       ■»-    ^     I      ■•-  —  -r  ■*•      ^      '■•■ 


The  Rondo  is  a  form  of  composition  in  which  the  principal  itlea  rctiuns 
after  every  digression  or  episode.  Hence  the  name  "  Rondo,"  repeatiim 
in  a  circle.  (See  657.) 

The  Rondo  has  five  forms. 

The  First  Rondo  Form  {see  659)  consists  of  a  Tiieme,  Passage,  Theme 
and  Conclusion.  A  good  example  is  from  Beethoven's  little  Sonata  in  G, 
(No.  37  Peter's  edition.)     It  has  a  Theme  of  8  measures,  beginning  thus: 


Ex.  535.  Theme. 


etc.  8  measures. 


mtn 


:s 6- 


^^ 


After  this  there  is  a  Passage  of  8  measures,  which  begins  thus: 


Ex.  536 


Passase. 


4=n: 


— \- 


IzMrJL 


m=r^^ 


0 — «--^^ 


etc.  8  measures. 


niE?.E  • 


L. 


ThentheTheuieuf  t^  measures,  ari  before,  ending  willi  aConcUision  of  1(! 
.ueasures,  beirinning  thus: 


Ex   537. 


Conclusion. 


* 


— <S>- 

— I — 
— i — 


•m^ 


etc.  10  measures. 


^mm^m 


THEORY  OF  MUSIC. 


[Book  R. 


The  next  movement  (Romauze)  of  the  same  Sonata  is  also  in  the  First 
Rondo  Form.     Its  plan  is  as  follows: 


Theme, 
8  measures. 


Passage, 
13  measures. 


Theme, 
8  measures. 


Conclusion, 
11  measures. 


The  Second  Rondo  Form,  (See  661)  consists  of  a  Theme,  and  an  Episode; 
after  which  a  short  Passage  leads  back  to  the  Theme,  the  whole  ending 
witli  a  Conclusion.  Take,  for  example,  the  Adagio  from  Beethoven's 
Sonata  in  F  minor,  Op.  2,  No.  1.  The  two  periods  of  the  Theme  commence 
thus: 


Ex.  538. 


First  Period. 


Second  Period, 

0 


^=^^ 


etc.  H  irfas. 


i^E?=l 


[""T^^^     ^^^^^     1^"^^"^ 


The  Episode  begins  thus: 
Ex.  539. 


Episode. 


^ifi%<^Mi-Ji^M^ 


etc.  11  meas 


'-^'- 


A  short  Passage  of  4  measures  leads  back  to  the  Theme,  as  before,  (16 
measures,)  after  which  comes  the  Conclusion,  beginning  thus: 
Ex.  540.  Couclusion. 


^^" 
^^" 


^■ 


$- 


I 


•^ 

^f 


dc.  14nieas. 


^G- 


i 


i- 


Another  example  of  lliis  Form  is  the  Largo  from  Beethoven's  Sonata  In 
A,  Op.  2,  No.  2,  which  has  the  following  plan: 


I'AET  r\'.j 


ILLUSTRATIVE. 


W, 


Theme. 

1st  Period.  2d  Period. 
8  uieaii.      11  meas. 


Episode. 

1st  Per.  Pa.ss. 
I  meas.    5  meas. 


Thejie. 

1st  Per.    2d  Per. 
8  meas.  11  meas. 


19.  12.  i9. 

This  Conclusion  of  30  measui'es  hae  the  following  plan 

Original.      I      Tnenie. 
7  meas.       •     7  meas. 


I    Passage. 
I    3  meas. 


Theme. 
8  meas. 


COKCLCSIOX. 
30  measures. 

30. 


Coda. 
5  meas. 


In  the  Third  Roxdo  Foem  {see  663)  the  Theme  appears  three  times,  to- 
gether with  two  Episodes.  Dr.  Marx  compares  this  Form  to  two  Second 
Rondo  Forms,  which  overlap  each  other,  thus: 

Theme,  Episode,  /  Theme,       \ 

V       Theme,  )  Episode,  Theme. 

The  Theme  predominates  very  decidedly,  in  this  Form,  appearing  three 
times;  while  the  Episodes  appear  only  ouce  each.  As  an  example  take 
the  Adagio  from  Beethoven's  Sonata  Pathetique,  Op.  13.  The  Theme  of 
18  measures  commences  thus: 


Ex.  541. 


Theme. 


ME2% 


21^ 


^tc.  16  meas. 


Then  follow.s  the  1st  Episode  of  12  measures,  l>eginning  thus: 
Ex.  542.  First  Episode. 


etc.  12  meas. 


After  this,  the  Theme  (8  measures)  is  repeated,  which  brings  us  to  the 
Second  Eplsoile,  beginning  thus: 

Ex.  543.  Second  Episode. 


2^ 


1 


etc.  14  meas. 


9=3 


flfe^^C 


148 


THEORY  OP  MUSIC. 


[Book  II 


The  entire  Theme  (16  measures)  again  appears,  followed  by  a  Conclu- 
sion of  7  measures,  wliich  connnences  tlius: 


Ex.  544. 


^mm^'Si^^-^^ 


J — I — I — ^- 


j— 1— j- 


Another  example  of  the  Third  Rondo  Form  is  the  Finale  (Rondos  ot 
Beethoven's  Sonata,  in  C,  Op.  53,  the  plan  of  which  is  as  follows: 


Theme 
62  m. 


let  Ep. 
52  m. 


Theme. 
62  m. 


2nd  Ep. 
138  m. 


Theme. 
90  m. 


Conclusion. 
141  m. 


The  Fourth  Rondo  Form  {See  665)  differs  in  two  respects  from  the 
Third  Rondo  Form;  viz:— first  by  a  more  clearly  marked  repose  after  the 
repetition  of  the  Theme;  and,  Second,  by  the  final  re-appearance  of  its 
first  Episode,  in  a  difll'rent  key  from  that  in  which  it  first  appeared.  A 
gooi^l  illustration  of  the  Fourth  Rondo  Form  will  be  found  in  the  Finale  of 
Beethoven's  Sonata  in  C  Major,  Op.  2.  No.  3.  Its  Theme  of  29  measures 
begins  thus: 

Ex.  545.  Theme. 


—1—1  **^ 

£=-6--^ 

utu^ 

&  -^^ 

L-i    "-^^ 

I J      p     '  *  ' 

Allegro  assai. 

etc.  29  meas. 

<^:"fr-»,   -j    «-« — *r 

^ 

^—f^i—i—^ — ^ 

The  first  Episode  of  38  measures,  in  the  key  of  the  Domin.mt  begins 
thus: 

Ex.  54G.  First  Episode. 


etc.  39  meas. 


The  first  portion  of  the  work  closes  witli  a  return  of  tlie  Theme,  length- 


f  ABT  IV.l 


ILLUSTRATIVE. 


149 


/ned  to  34  measures :  the  second  portion  consists  of  the  second  Episode  of 

78  measures,  be,<;inniiig  thus: 

Ex.  647.  Second  Episode. 

-^ 0- 

'9Z 


etc.  78  meax 


The  third  portion  consists  of  a  reappeai-ance  of  the  Theme,  lengthened 
to  '61  measures:  a  recapitulation  of  the  first  Episode,  (shortened  to  35 
measures,)  and  a  Conclusion  of  60  measures,  which  closes  the  whole  work. 
The  conclusion  conunences  thus: 

Ex.  548.  Conclusion. 

->,- ^^^ 


::r^^^zr^ir^ 


# 


*:  Tt' 


etc.  60  meas. 


^ 


-"f-f-f 


The  Finale  of  Beethoven's  Sonata  in  Ab,  Op.  26,  is  another  example  of 
the  Fourth  Rondo  Form.     It  is  made  up  as  follows: 

Theme.    |    1st  Ep.    I  Passage.   |  Theme.  |  2d  Episode.  |  Theme.  |  1st  Ep.  Conclusion. 


32  m. 


16  m. 


i  m. 


28  m. 


28  m. 


28  m. 


41  m. 


The  Filth  Rondo  lorm.  (.sve  667)  like  the  Fourth  Form,  is  made  up  of 
three  well  rounded  and  distinct  divisions.  The  Fir.st  Division  consists  of 
the  Theme  and  first  Episode,  closing  with  an  extended  form  of  Conclusion 
of  great  decision.  Tiie  Second  Episode  alone  forms  tiie  Second  Divi.-iun, 
while  the  Third  Division  consi.';ts  of  the  Theme,  first  Episode  and  Conclu- 
sion. The  only  differeiice  betweon  the  third  division  and  the  first,  is.  that 
the  First  Episode  and  Conclusion  reappear  in  a  dilVerfiit  key.  Our  illus- 
tration is  the  Finale  of  Beethoven's  Sonata  in  F  minor,  Op.  2,  No.  1. 

The  Theme  of  21  measures  commences  thus: 

Ex.  549.  Theme. 


pii 


* 


Prestissimo 


etc.  21  meas. 


THEORY  OF  MUSIC. 


[Book  II, 


The  First  Episode  or  12  measures,  begins  thus: 
Ex.  550.  Fii'st  Episo(}e. 


±^=1- 

s?-?-—^ 


etc.  12  meas. 


9^S 


=b^=:^: 


Efe^ 


:t 


i 


I 


Then  comes  a  Conclusion  of  23  measures,  which  commences  thus : 
Ex.551.  Conclusion. 


This  is  all  repeated,  forming  tiie  First  Division.  The  Second  Division 
consists  of  the  Second  Episode  of  80  measures,  of  which  the  following  is 
the  commencement: 


Ex.  552. 


Second  Episode. 


'0~ 


-<©*—-=; 


::^: 


qciz-j 


Sempre  piano  e  dolce, 

■0-      ■#- 


m — •- 


etc.  80  meas. 


igl=SS3E^?:-E^B5^S^_^^ 


T1j(!  Third  Division  begins  with  tlie  reappearance  of  the  Theme  of  23 
measures,  followed  by  a  recapitulation  of  the  First  Episode,  commencing 
thus: 


Ex.  553. 


Keappcarance  of  First  Episode. 


-:^2 


etc.  12  meas. 


--:}- 


" #- 


3: 


--^■ 


J=fei 


Past  IV.] 


ILLUSTRATIVE. 


151 


The  whole  ends  with  the  Conclusion  of  23  measures,  beginning  thus : 

Ex.  554.  Couclusion. 


:--S: 


•6^ 


etc.  23  Micas. 


-I — r-#— — ^0 — ^3! »  p^j_*_qrjn» 


A  Sonatina  [See  669]  is  a  work  of  two  or  three  different  movements,  each 
complete  of  itself,  j-et  so  united  that  we  instinctively  perceive  them  to  belong 
together.  It  usually  has  two  movements,  one  a  Sonata-Piece,  the  other  a 
Rondo.  A  Sonata-Piece  [Sonaten-Saiz'],  differs  from  the  Fifth  Rondo  Form 
only  in  one  point,  viz :  that  the  second  espisode  invariably  consists  of  the  chief 
motives  of  the  theme  and  first  espisode,  which  are  intermingled  and 
elaborately  worked  up.  The  Germans  call  this  division  "durch/urung-saiz:' 
Beethoven's  Sonatina  in  G,  op.  49,  consists  of  two  parts— first  a  Sonata- 
Piece  in  |  measure  Allegro ;  second,  a  Minuetto  in  the  Third  Rondo  Form. 

The  Sonata  \_See  670]  consists  of  three  or  four  different  movements,  one  of 
which  is  usually  slow.  In  Sonatas  of  four  movements,  the  third  is  more  fre- 
quently a  Minuet,  or  Scherzo  with  Trio.  [Applied  Song  Form.]  The  first 
movement  is  usually  a  Sonata-Piece.  Taking  for  example  Beethoven's  Sonata 
in  F  minor,  op.  2,  No.  1,  we  find  four  movements.  First  an  Allegro  m  F 
minor,  Sonata-Piece,  beginning  thus : 


Ex.  555. 


First  movemput. 


5^,^fc==U 


zic: 


m    3, 


Allegro. 


±: 


• — • — I 

Ed 


i 


The  Second  movement  in  F  major,  is  in  the  Second  Rondo  Forn),  and 
begins  thus: 


Ex.  556. 


Second  movement. 


V  -t   ^ 


•-* 


§^t-?r 


m 


-0-r» 


152 


THEORY  OF  MUSIC. 


[Book  II. 


The  third  movement  is  a  Minuet,  in  F  minor,  AppUed  Song-Form,  with 
the  Trio  in  F  major.     The  Minuet  commences  thus: 


Ex.  557. 


Third  Movement.    (Minuet.) 


pM^ 


33^ 


L_|. 


:± 


-•■     n#-    -#•-•■-«'- 


Allegretto. 


§1^3 


t2^^^^ 


-T-?- 


^=1?: 


^=4 


i  — r 


1^ 


The  Finale  in  F  minor,  is  written  in  the  Fifth  Rontlo  Form,  beginning 
thus: 


Ex.  558. 


Finale,    (Fourth  Movement.) 


Prestissimo. 

■0- 


'^ ^^ 


V 


-^' 


fc:^?^=i;.^^==*^^EiE^ 


Our  space  will  not  admit  of  furtbcn-  illustrations.  We  call  attention, 
however,  to  one  or  two  other  Sonatas,  descril)ing  their  content.?;  aft'i 
which  the  student  will  be  enabled  to  analj'ze  for.  himself. 

Beethoven  s  Sonata  in  G,  Op.  14,  No.  2,  has  three  movements,  an  Allegro 
in  (i,  I  measure  Sonata-Piece;  Andante  ^  in  C,  Theme  with  variations; 
Scherzo  |-  in  G,  Third  Rondo  Form. 

Sonata  Pastorale  in  D,  Op.  28,  has  four  movements,  Allegro  |  in  D, 
Sonata-Piece;  Andante  |  in  I)  minor.  Second  Rondo  Form;  Scherzo  |  in  D, 
Applied  Song  Form ;  and  Finale  |  in  D,  Fourth  Rondo  Form. 

Sonata  I'dtlietiquc,  Op.  V.\.  lias  three  movements;  a  slow  introduction  of 
ten  measures,  leads  to  tiic  Allegro  in  C  minor,  <  Sonata,  Piece: 
Alla^■io  Cantahile  in  Ab  nmjor  i  Third  Rondo  Form;  Finale  in  C  Minor 
X  Fourth  Rondo  Form,  with  a  slight  deviation,  in  that  the  Theme  reap- 
pears just  before  the  close. 

The  Suite  (see  671)  is  a  musical  form  consisting  of  several  distinct 
pieces,  so  related  in  point  of  key.  and  contrasted  in  expression,  as  to  pro- 
iluce  an  agreeable  etl'ect  when  play(Hl  in  succession.  Tiiis  form  was  very 
popular  in  the  time  of  Bach  and  Handel,  (A.  D.  1684—1750.)  and  onl  of 
it  Philip  Emanuel  Bach  and  his  successors  developed  the  Sonata.  Tiie 
number  of  pieces  properly  composing  a  Suite  seems  never  to  have  been 
definitely  settled.  Bach's  Suites  have  from  six  to  eight  pieces  each,  and 
Handel's  about  the  same.     For  example  the  second  "French  Suite,"  by 


Part  IV.] 


ILLUSTRATIVE. 


153 


Bach,  consists  of  six  movements,  all  of  whicli  are  Song-Forms  except  the 
Cinque,  whicli  is  a  Fugue.     They  severally  begin  as  follows: 


Ex    559. 


First  Movemeut.    Allegro  moderaio.  (Jr80.) 


:2:a: 


>; 


^^-* 


Allemande.  f% 


^      .^ , ;_^ . ; ^ _ 


^M^^ 


tic. 


•7     ♦■ 


-3z=3z£ 


Ex.560.  Second  Movemont.     Yivace.    (s'-_76.) 


2^=^^^: 


•^*- 


Couranle. 


0-4 


etc. 


^M 


H±zzl 


Ex.  561. 


Third  Movement.    Andaniino.    (J=84.) 


3~*    [J 


m^- 


T#^:^   i:^^ 


7^ 


Sarabandi. 


e/c. 


-■f-.-s-.- 


-l:*t; 


Ex.562.  Fourth  Movement.     Un  poco  Andante.    (J  =  80.) 


:fe¥ 


•-^ 


#-«-« 


?£^ 


^!>. 


e/c. 


154 


THEORY  OF  MUSIC. 


[BoexU. 


Ex.  663. 


Fifth  Movement.    AlUgreito.     (Jsl20.) 


Minuet. 


etc. 


E 


m 


Ex.  564. 


Sixth  Movement.     Allegro.     (Jr^8.) 


mm 


Cinque.  Marcato. 


Free  imitation. 


Recently  tbe  Suite  Form  has  been  revived  by  Raff,  Bargiel,  and  orhers, 
in  a  modified  form  and  in  tlie  spirit  of  modern  music.  One  of  the  most 
pl'-asinij,-  of  tliese  productions  is  Bargiel's  Suite  Op.  21  wliich  consists  oV 
Praludium  Z\vei2;esan£>-,  (duet)  Saraband!,  Marscli,  Sclierzo,  and  Finale, 
Of  these  the  Sarabandi  and  Marscli  are  song-forms;  the  others  resemi)lo 
rondos,  although  not  strictly  conforming  to  any  one  of  the  orthodox  forms. 
These  modern  Suites  are,  in  effect,  Soiiatas,  the  suite  form  having  beep 
selected  by  the  composer  as  less  pretentious  and  exacting. 

The  Overture  (see  f»72)  is  a  conii)osition  for  orchestra,  written  as  an  m- 
troduction  to  an  opera,  oratorio,  etc.  It  has  no  settled  form,  but  hs  tien- 
eral  characteristics  resemble  tiie  Sonata  or  Sonatina.  Mozart's  overture 
to  his  opera  "  Figaro,"  consists  of  Imt  a  single  movement,  of  which  Ihm 
two  principal  ideas  are  given  iu  illustrations  (i  and  b,  as  follows: 


Ex.  565. 


a.    Presto. 


St  ringed  insi  rum  ents. 


EM^^ 


LOZH- 


_fl^-t5= 


^-   \-    — 


^^t 


Pabt  IV.] 


ILLUSTRATIVE. 


155 


Ex.  566. 


Under  the  title  Chamber  Music  (See  673)  are  included  duos,  trios,  quar- 
tets, quintets,  sextets,  septets,  and  octets,  for  various  instruments,  adapted 
to  use  in  small  rooms.  The  most  esteeme<l  works  of  this  class  are  the 
trios,  quartets,  and  quintets,  for  stringed  instruments.  In  form  these 
works  are  almost  invariably  Sonatas.  As  to  contents  they  embrace  very 
many  of  the  most  beautiful  thoughts  of  Haydn,  Mozart,  Beethoven,  Schu- 
mann, Mendelssohn,  and  Rail'.  This  department  of  music  deserves  to  be 
better  known  in  this  country.  As  an  example  of  Chamber  Music  we  give 
the  opening  measures  of  the  several  movements  in  the  quartet  for  2  violins, 
Viola  and  Violoncello  by  Beethoven  Op  18.  No  1.  It  consists  of  four 
movements.  Allegro  con  brio;  Adagio;  Scherzo  with  Trio;  and  Allegro. 
The  first  movement  is  in  the  Fifth  Rondo  Form,  and  begins  thus: 


Ex.  567. 

Ist  Violin. 


First  Movemeut- 

— I-H— I , r 


'^~^~'- '  ,  '  -0.      ^~^  ^~^ .  • 


Allegro  con  brio. 

2d  Violin. 


4=3^^-n---^?=? 


IJM! I 1 — I — I  _J i -7-? ) 1 — I — I 1 1-    — 


-?T-^. 


^^^M 


Viola. 

■H- 


e£5 


CeUo. 


51 


i.^ 


mm^^^i^^ 


The  plan  of  the  Fii'.st  Movement  is  as  follows: 


Theme, 
48  m. 


I    IstEp., 
I      35  m. 


Couclusiou, 

n  111. 


2(1  Ep., 
64  m. 


Tlieme, 
31m. 


Ist  Ep.,    I  Conclusion, 
36  m.     I       69  m. 


THEORY  OF  MUSIC. 


[Book  U- 


The  Adagio  movement  is  in  the  Second  Rondo  Form,  and  commenc-.' 
thus: 


Ex.  668. 


Second  Movement. 


Adagio. 


^ 


:^~*^ 


iNf^s^ 


The  plan  of  the  Second  Movement  is  follows: 


Theme, 
26  m. 


1st  Ep.      I  Passage,  I      Theme,      I  Conclusion. 
20  m.  18  m.  13  m.  35  m. 


The  Third  Movement  is  iu  the  Applied  Song-Form,  (Theme  85  measures, 
Trio  60  measures,  etc.,)  the  opening  of  which  is  as  follows: 


Ex.  569. 


^^I^^ 


Scherzo.     Allegro  molto. 


M 


-^ 


i_ 


•»• 


-Zi-j 


rxr 


w* 


4h — ^-T 

V 


r9—  tf 


5^ 


■<9 


E^ 


->»7 


J?l 


5iE 


T^-f 


Pakt  it.] 


ILtrSTKATrVE. 


157 


The  Finale  is  in  the  Fourth  Eondo  Form,  and  commences  thus: 

Ex.  570.  Fburtli  Movement.    Allegro. 

0,0  ••i 


m 


pT 


ii»F^ 


p7 


rit 


0  0- 


The  plan  of  the  Fourth  Movement  is: 

Theme.   I    1st  Ep.    I  Theme.  I  2d  Episode.  |  Theme. 
26  m.     I     &4m.      I    46  m.    t        9S  m.        |    26  m. 


iBt  Ep. 
Sim. 


ConelueioB. 
ST  m. 


The  Symphony  {see  675)  is  a  Sonata  for  a  full  orchestra,  and  is  usually 
constructed  upon  a  large  and  massive  plan. 

It  generally  consists  of  an  Introduction,  Allegro.  Andante,  Scherzo  and 
Finale,  each  of  which  is  more  fully  developed  than  is  necessary  in  the 
ordinary  Sonata.  Beethoven's  celebrated  Fifth  Sjinphony,  for  instance, 
consists  of  four  movements.  The  first  is  in  the  Fifth  Rondo  Form,  and 
opens  thus,  (we  print  the  piano-score  to  save  room.) 


Bx.  571. 


Alleffro  con  brio. 


First  Movement. 


{      I 


•^• 


The  plan  of  this  First  Movement  is: 

tnttoduction.  I  Theme.  I  1st  Ep.  I     Con.      i    2dEp.    I' 

5m.         I    56  m     I  31m.    I     31m.     I   127m.    |    Sim.    I  39  m.   I       157  m. 


Theme,  I  IstEp.  I  Conclnsi^n, 


1  8 


THEORY  OF  MUSIC. 


[BOOKU. 


The  Second  Movement  is  a  free  fantasia  on  two  themes,  which  contrast 
with  each  other,  and  are  treated  alternately  throughout.     It  begins  thus: 


Ex.  572.  Second  Movemeut. 

Atidanle  con  molo. 

-+-m r-J^--# 0^ 1 1- 


i@!S^ 


-b 


tf — 


p   tlolce. 


etc. 


-?v 


^- 


The  Third  Movement  is  an  Allegro  in  the  Applied  Song  Form,  the  first 
four  measures  of  which  are  as  follows:  ' 


Ex.  573. 


Third  Movement. 


Allegro. 

2: 


m 


pp 


etc. 


^i 


i=^ 


m 


The  Fourth  Movement  is  the  Finale  in  the  Fifth  Rondo  Form,  ol  which 
the  followmg  are  the  opening  measures : 


Ex.  674. 


Fourth  Movement.    Finale. 


^       U       ^       C 


?ABT  IT.] 


ILLUSTBATITE. 


Ex.  575. 


Trombe 

ID  II. 

Timpani 
inG  D. 


Piauoforte 


p  cres. 
Molto  allegre  confuoco 


The  Concer- 
to, (see  676)  is  a 
Sonata  for  oue 
or  more  solo  in- 
struments.    It 
is  designed  to 
exhibit  the  ar- 
tistic  capabili- 
ties of  the  solo 
instrument    to 
the  fullest  ex- 
tent. The  most 
famous  concer- 
tos for  the  pian- 
oforte are  those 
by    Beethoven, 
Schumann,  Cho- 
pin,    Mendels- 
sohn, itaff,  Liszt 
and      Henselt. 
Those  by  Beet- 
hooven  are  the 
crown   of    the 
classic  school ; 
those  by  Schu- 
mann and  Cho- 
pin  belong   to 
the  modern  ro- 
mantic schools. 
The  others  rep- 
resent the  ex- 
treme limit  of 
pianoforte  vir- 
tuosity. 

The  example 
given  on  this 
page  is  from 
Mendel  ssohn".s 

oncerto  for 
the  pianoforte 
and  orchestra, 
Op.  25. 


THEORY  OF  MUSIC. 


[Book  n. 


The  Nocturne  (See  678)  is  a  composition  usually  written  in  a  variety  ol 
the  Song-form,  for  difl'erent  instruments;  and,  as  its  name  implies,  takes 
on  a  character  which  accords  witli  the  calmness  of  a  beautiful  night,  or  a 
quiet  evening.  For  example  we  quote  the  opening  measures  of  Chopin's 
Nocturne,  Op.  9,  No.  2,  in  Efe  as  follows: 


Ex.  576 


Andante  {J=132). 


"k 


i^J 


^-• 


-^#  «-#- 


i?>a-i 


V- 


espress.  dolce. 


etc. 


gii^f 


^  f^^    tit: 


Fed.    *  Fed.  ^  Fed.  ■*  F,'d.    *     /v,/    ^  Ped.    ■*  Fed.    ^  Fed.    ^ 

The  Fantasia,  (See  679)  as  its  name  implies,  has  no  definite  form.  It 
must,  however,  conform  to  the  ;«sthetic  requirements  of  unity  and  con- 
trast. One  of  the  most  celebrated  pieces  of  this  class  is  Mozart's  Fantasia, 
in  C  minor,  preceding  a  i)iano-fortp  Sonata.  This  charming  piece  is  de- 
veloped  from  four  principal  ideas,  tiie  beginnings  of  which  are  shown  \u 
the  following  illustrations,  a  h  c  and  d. 


Ex.  577. 


o.  Adagio. 


Sr    t 


:te9 


•^  V  PP  etc. 


S. 


-fr^* 


:ji:llM,fc?=fe2: 


Ex.  578. 


6. 


w- 


3=S 


<'tc. 


=?^J=?:Z^i=^^ 


Part  IV.] 


ILLUSTRATIVE. 


161 


Ex.  579. 


e.  Allegro. 


#1! — 0 ^ 0 0 ^ 0 ^ [^^1! , 


-0 0 • 0 0 0 


etc 


:^— i^-'-^-^^-'h? 


Ex.  580. 


d.  Andantino. 


^-3-*-.-# 


#=^.^ 3i=__br —      N 


etc. 


95 


It  ma}'  be  proper  to  mention  the  difference  between  tJie  Fantasia  snd 
Potpourri.  The  latter  consists  exclusively  of  melodies  from  other  sources, 
with  the  addition,  only,  of  the  passages  necessary  to  connect  them,  while 
the  Fantasia  is  properly  a  work  of  the  imagination. 

Capriccio  (S<^f  680)  is  a  name  which  composers  give  to  such  works  as 
please  them,  but  which  do  not  fall  into  any  recognized  form.  Capriccios 
are  usually  in  presto  movement,  and  sometimes  resemble  Song-forms,  or 
Rondo-forms;  at  others  they  assume  the  unbridled  license  of  a  Fantasia. 
A  good  illustration  of  this  style  of  composition  is  Von  AVeber's  Momento 
Capriccio,  Op.  12,  which  resembles  the  Rondo-form:  the  following  is  its 
plan : 

Theme  in  three  Periods,  1st  Per.  in  Bt  8  m. ;  2d  Per.  in  F.  8  m.:  3d  Per. 
Bl?  8 ;  1st  Episode  in  C.  26  m.  made  up  of  motives  from  1st  Period  of  Theme; 
then  follows  2d  Period  of  Theme  in  F,  8  m.  after  which  a  Passage  of  16  ni. 
(made  chiefly  of  motives  taken  from  2d  Period  of  Theme)  leads  to  a  recapi- 
tulation of  1st  Episode  in  D.  Then  follows  a  modification  of  tlie  1st  Pe- 
riod of  Theme,  lengthened  to  14  m ;  after  this  we  have  the  2d  Episode  in 
bV.  32  m.,  the  whole  ending  with  a  Conclusion  of  54  m.  made  out  of  the 
motives  of  the  1st  Period  of  Theme. 

The  Polonaise  (6ee  681)  is  a  composition  in  the  rhythm  of  an  old  Polisn 
dauce,  thus: 


etc 


162 


THEORY  OF  MUSIC. 


[Boos  n. 


Its  peculiarity  is  the  division  of  the  measure  into  six  pulses,  the  second 
pulse  being  always  divided.  The  Polonaise  is  commonly  in  the  applied 
Song-form  or  Rondo-form,  or  diverges  very  slightly  therefrom.  Chopin's 
famous  '^Polonaise  Militaire,"  is  developed  out  of  the  two  motives  given 
below,  (a  and  b.) 


Ex.  681. 


a.  Theme. 


U 


'^•■^sri* 


-0r      ■*■-»•      -0-  • 
-#■ 

c<ir.»~k-^ ^ «-• •-^-^-*-^-x  0-—0-0- 


-=    ^ 


6.    Trio. 


m 


-Z/' 


energico. 


Tlie  author  regrets  that  the  lunits  originally  prescribed  for  the  present 
volume  prevent  him  from  giving  a  larger  number  of  illustrations.  How- 
ever, a  full  definition  of  nearly  all  the  forms  of  musical  composition  will  b© 
found  in  Book  I.  Part  IV". 


The    End 


INDEX, 


Abbreviations  ;  §  question;  p.  page;  ill.  illustrated;  Ex.  example. 

A. 

Accent, §  39,  p.  9. 

Accidentals, §  102,  p.  13;  ill.  p.  65,  Ex.  31. 

Acclaccatura §  169,  p.  l";  ill.  p.  "4,  Ex.  76. 

After-tone, §  170,  p.  17 ;  ill.  p.  74.  Ex.  75. 

Altered  chord.?, §  375,  p.  29;  ill.  p.  79,  Ex.  109,  also  ill.  pp.  92  to  97. 

Alto, §  62,  p.  10.' 

American  Sixth, §  403,  p.  31;  ill.  p.  80.  Ex.  113,  also  p.  96,  Ex.  163  to  166. 

American  Sixtli— progression  of, §  511,  p.  39;  ill.  p.  96,  Ex.  163  to  166. 

Ambiguous  chords, §  520,  p.  40. 

Anthem, §  711,  p.  .56. 

Anticipation §  407,  p.  31:  ill.  p.  101,  Ex.  179. 

Antithesis §  618,  p.  48;  ill.  p.  135,  Ex.  497. 

Appoggiatura §  167,  p.  16;  ill.  p.  74,  Ex.  74. 

Applied  Song  form, §  627,  p.  49;  ill.  p.  141. 

Ana §  704,  p.  55. 

Augmented  triad, §  378,  p.  29;  ill.  p.  79,  Ex.  109,  also  p.  92,  Ex.  147  to  156 

Augmented  chord  of  the  sixth,..  §  384.  p.  29;  ill.  p.  79,  Ex.  109.  also  p.  93,  Ex.  151, 
Augmeuted  chord  of  the  6th,  4th  and  3d,  §  390,  p.  30;  ill.  p.  80,  Ex.  Ill,  also  p.  93.  ( 

Ex.  152  to  155. 1 
Augmented  chord- progression  of, §  500,  p.  38;  ill.  p.  92,  Ex.  147  to  i.5o. 

Augmented  chord  of  the  6th  and  5th §  395,  p.  30;  111.  p.  80,  Ex.  112,  also  p.  94  i 

Ex.  156  tu  loii  ] 
Augmented  Sixth  chord— origin  of.  p.  80,  also  p.  96. 

B. 

Ballad, §  717,  p.  57. 

Bars, §20,  p.  8;  ill.  p.  61.  Ex.4. 

Base, §  62,  p.  10. 

Beating  time §  32,  p.  8;  ill.  p.  62,  Ex.  11. 

Binding-toue, §  429,  p.  33;  ill.  p.  84,  Ex.  124, 

Bis §  83,  p.  11;  ill.  p.  64,  Ex.  23. 

Brace, §  78,  p.  11;  ill.  p.  63,  Ex.  20. 

C. 

Cadenza, §  702,  p.  55. 

Cadences, §  542,  p.  41 ;  ill.  p.  102.  Ex.  181  to  186. 

Canon,  §  650,  p.  51;  ill.  p.  144.  Ex.  5:54. 

Cantata §  713,  p.  56. 

Cancel  (natural), §  98,  p.  12,  see  footnote  page  12. 

Canzonet, §  699,  p.  55. 

Capriccio, §  680,  p.  53;  ill,  p.  161. 

Oavatina, §  700,  p.  55. 

Chant §  707,  p.  56. 

Choral, §  708,  p.  56. 

Chamber-music, §  673,  p.  .52;  ill.  p.  155  and  150. 

Changing  tones §  417,  p.  32;  ill.  |i.  109.  Ex.  202. 

Chord  of  the  7th S  344,  p.  27;  ill.  p.  79,  Ex.  102  to  106 


164 


INDEX. 


Abbreviations:  5  question;  p-  page;  ill.  illustrated;  Ex.  example. 

Chord  of  the  7th.  progression  of §  470,  p.  36;  ill.  p.  86. 

Chord  of  the  diminished  7th, §  363,  p.  28;  ill.  p.  79.  Ex.  107. 

Chord  of  the  dimin.  7th,  progression  of,..§  491,  p.  38;  ill.  p.  88,  Ex.  139  to  144. 

Chord  of  the  9th §304,  p.  28;  ill.  p.  79,  Ex.  108. 

Chord  of  the  9th,  progression  of §  498,  p.  38;  ill.  p.  90,  Ex.  145  and  146. 

Chord  of  the  11th, §  373,  p.  29. 

Chord  of  the  lath,  §  373,  p.  29. 

Chord, §281,  p.  23;  ill.  p.  77,  Ex.  95. 

Chromatic  half-steps, §  232,  p.  21 ;  ill.  p.  76,  Ex.  85. 

Ctiromatic  Scale, §  100,  p.  13;  ill.  p.  65,  Ex.  32. 

Clef, §  69,  p.  10;  ill.  p.  6.3,  Ex.  16. 

Close, §23,  p.  8;  ill.  p.  61,  Ex.  1. 

Close  harmony, §  466,  p.  36;  ill.  p.  85,  Ex.  130. 

Compound  triple  measure §  30,  p.  8;  ill.  p.  62,  Ex.  9. 

Compound  quadruple  measure §  31,  p.  8;  ill.  p.  62,  Ex.  10. 

Concerto, §  676,  p.  53;  ill.  p.  169. 

Concertino, §  677,  p.  53. 

Consonant  triad, ; §  293,  p.  24. 

Consecutive  fifths, §  437,  p.  34;  ill.  p.  84.  Ex.  125. 

Consecutive  octaves, §  438,  p.  34;  ill.  p.  84,  Ex.  125. 

Counterpoint,  §  635,  p.  49;  ill.  p.  14i,  Ex.  526  to  528. 

Counter-subject, §  642,  p.  50;  ill.  p.  143,  Ex.  529. 

Cotillon, §  697,  p.  55. 

Covered  fifths  and  octaves §  567,  p.  43;  ill.  p.  106,  Ex.  190  to  194. 

Crescendo, §  177,  p.  17;  ill.  p.  74,  Ex.  78. 

Cro.ss-relations, §  576,  p.  44;  ill.  p.  107,  Ex.  195  and  196. 

D. 

Dash, §  334,  p.  26. 

Deceptive  cadence, §  550,  p.  42;  ill.  p.  103,  Ex.  185. 

J>egrees  of  power, g  171,  p.  17;  ill.  p.  74,  Ex.  77. 

Design, §596,  p.  46:  ill.  p.  136. 

Design,  transformation  of, §  600,  p.  47;  ill.  p.  136  to  139. 

Diatonic  Scale, §  9,  p.  7;  also  §  592,  p.  46;  ill,  p.  61,  Ei 

Diatonic  half-step.s, §  233,  p.  21;  ill.  p.  76,  Ex.  85. 

Diminished  triad §  298,  p.  24;  ill.  p.  77,  Ex.  97. 

Diminished  7th,  chortl  of, §  363,  p.  28;  ill.  p.  79,  Ex.  107. 

Diminished  7th,  progression  of, ... .     .   . .  §  491,  p.  38;  ill.  p.  88,  Ex.  1.39  to  144. 

Diminuendo §  178,  p.  18;  ill.  p.  74,  Ex.  79. 

Dispersed  harmony, §  467,  p.  36;  ill.  p.  85,  Ex.  130. 

Dissonance, §  343,  p  27. 

Dissonant  triad, §  294,  p.  24. 

Double  Bar §  21.  p.  8;  ill.  [>■  61.  Ex.  4, 

Double  Measure, §  26,  p.  8;  ill.  p.  61.  Ex.  5. 

Dot §  80,  p.  11 ;  ill.  p.  e:!,  Ex.  21. 

D.  C, . .  §  86,  p.  11 ;  ill.  p.  64,  Ex.  26. 

D.  S §  88,  p.  12;  ill.  II.  64,  K.\.  27. 

Dominant, §  278.  p.  23. 

Dominant  7th, S  345,  p.  27;  ill.  p.  78,  Ex.  102 

Dominant  7lh.  inversions  of §  348,  p.  27;  ill.  i).  79,  Ex    loa  ' 

Dominant  7th,  progression  of, §  47o.  p.  ;ii;;  ill.  p.  86,  lOjr  13i 

Duet, §  726,  p.  58. 


INDEX.  165 

Abbreviations:  §  question;  p.  page;  ill.  illuBtrated;  Ex.  example. 

E. 

Ecclesiastical  chord, §  483,  p.  37;  ill.  p.  8T,  Ex.  136. 

Ecclesiastical  forms  of  vocal  music, §  Toe,  p.  .se. 

Equivocal  chord, §  492,  p.  38;  ill.  p.  88,  Ex.  139  to  144. 

Etude, §  V03,  p.  55.    . 

F. 

False  relations §  676,  p.  44;  Ul.  p.  107,  Ex.  195  and  196. 

Fandango, §  692,  p.  54. 

Fanfare, %  701,  p.  55. 

Fantasia §  679,  p.  53;  ill.  p.  160. 

Figured  triad §  329,  p.  26;  ill.  p.  78,  Ex.  100. 

Flats, §97,  p.  12. 

Forte, §175,  p.  17;  ill.  p.  74,  Ex.  77. 

Fortissimo, §176,  p.  17;  ill.  p.  74,  Ex.  77. 

Fraction §  46,  p.  9;  ill.  p.  62,  Ex.  12. 

Frencti  6tli, §  394,  p.  30;  ill.  p.  80,  Ex.  Ill,  also  p.  93,  Ex.  152  to  155. 

French  6th,  progression  of, §  505,  p.  39;  ill.  p.  93,  Ex.  153  to  ] 55. 

Form, §  582,  p.  46.  * 

Fugue,   §  641,  p.  50;  ill.  p.  143,  Ex.  529  and  S30. 

Fundamental  tone, §  283,  p.  24;  Ul.  p.  77,  Ex.  95. 

G.  ' 

Galop, §690,  p.  54. 

Galopade, §  691,  p.  54. 

German  6th, §99,  p  .  30;  ill.  p.  80,  Ex.  112,  also  p.  82,  Ex.  120, 

German  6th,  progression  of, §  508.  p.  39;  ill.  p.  94,  Ex.  156  to  159. 

Germ,  or  design, §  596,  p.  46;  ill.  p.  135. 

Glee, ;..§  721,  p.  57. 

Grand  opera %  725,  p.  58. 

H. 

Half  cadence, §  546,  p.  42;  ill.  p.  103,  Ex.  183. 

Half-step, 8  205,  p.  20;  ill.  p.  76,  Ex.  85. 

Hidden  fifth  and  octaves g  567,  p.  43;  ill.  p.  106,  Ex.  190  to  194. 

Hold, §84,  p.  11;  ill.  p.  64,  Ex.  24. 

Hornpipe, §  693,  p.  54. 

Hymn, §  709,  p.  56. 

I. 

fmitation §  647,  p.  50;  ill.  p.  144,  Ex.  531  to  534. 

Imperfect  cadence, §  545,  p.  42;  Ul.  p.  102,  Ex.  182. 

Intermediate  tones, §  92,  p.  12. 

Intervals, §  185,  p.  19;  iU.  p.  75,  Ex.  82  to  86. 

Inversion  of  chords, §  338,  p.  27;  ill.  p.  78,  Ex.  101. 

Inversions  figured §  339,  p.  27;  ill.  p.  78.  Ex.  101. 

Inversions  of  dominant  7th §  348.  p.  27;  ill.  p.  79,  Ex.  103. 

Inversion  of  intervals §  234,  p.  21 ;  ill.  p.  76,  Ex.  86  to  94. 

Italian  6th, §  389,  p.  30;  ill.  p.  80.  Ex.  110,  also  p.  82,  Ex.120. 

Italian  6th,  progression  of, §  502,  p.  38;  ill.  p.  93.  Ex.  151. 

J. 
Jig, §694,p^56. 


166  INI>EX. 

Abbreviations:  §  question;  p.  page;  ill.  illustrated;  Ex.  example. 

K. 

Key §  3,  p.  7;  111.  pages  72  and  73. 

Key-tone, , §  104,  p.  13. 

Keys,  relation  of, §  523,  p.  40. 

L. 

Leading  tone, §  280,  p.  23. 

Legato, §  181,  p.  18. 

M. 

Madrigal §  722,  p.  58. 

Major  triad, §  295,  p.  24;  ill.  p.  81,  Ex.114, 

March, §  688,  p.  54. 

Mass, §  714,  p.  56. 

Mazurka g  682,  p.  53.    . 

Measure, §24,  p.  8;  ill.  p.  61,  Ex.  4, 

Mediant, §  276,  p.  23. 

Melodic  minor  scale;  see  i-emark  page  68. 

Mezzo, §  174,  p.  17. 

Middle  C §  67,  p.  10. 

Minor  scale,  ...§  136,  p.  15;  ill.  p.  67,  Ex.  46  see  remark,  p.  66. 

Minor  triad §  296,  p.  24;  ill.  p.  81,  Ex.  114. 

Minor  scales  and  keys,  illustrated  pages  67  to  71,  also  p.  73. 

Modulation, §  514,  p.  40 ;  ill.  pages  UO  and  133 inclusive 

Motette §  712,  p.  56. 

Motion, §  423,  p.  33;  also  §  595,  p.  46;  ill.  p.  134,  Ex.  495. 

Mutual  tones, §  428,  p.  33.  ill.  p.  84,  Ex.  124. 

N. 

Naturals  (cancel), §  98,  p.  12;  see  foot-note  page  12. 

Nocturne, §  678.  p.  53;  ill.  p.  160. 

Notes, §  12,  p.  7;  ill.  page  61,  Ex.2. 

O. 

7pera  Bouffe, §  724,  p.  58. 

Opera,  Grand, §  725,  p.  58. 

Operetta §  723,  p.  58. 

Oratorio, §  715,  p.  57. 

Organ-point, g  409,  p.  31;  ill.  p.  104.  Ex.  187. 

Overture, §  672,  p.  52;  iU.  p.  154. 

P. 

Passage §  612,  p.  47. 

Passing  cliords, §  419,  p.  32. 

Passing  tones §  415,  p.  32;  also  §  166,  p.  10;  ill.  p.  74,  Ex.  73,  also  p.  108. 

I'cdal  passage, §  552,  p.  42;  ill.  p.  104,  Ex.  187. 

I'fdul-point, §409,  p.  31;  ill.  p.  104,  Ex.  187. 

TiTlcct  cadence (j  542,  p.  41;  ill.  p.  102,  Ex.  18i. 

I'lTlod g  014,  p.  48;  ill.  p.  135.  Ex.  500. 

I'l'iaso §  613,  p.  48;  ill.  p.  135,  Ex.  500. 

Pianissimo, g  172,  p.  17;  ill.  p.  74.  Ex.  77  to  81. 

Piano, §  173,  p.  17;  ill.  p.  74.  Ex.  77  to  81 

Plagal  cadence, §  547,  p.  42;  ill.  p.  103,  Ex.  184. 

Polka §  684,  p.  53. 

Polonaise,  or  Polacca...  . .  §  681,  p.  53;  ill.  p.  161  and  162. 


INDEX.  1(J7 

Abbreviationg :  §  question;  p.  page;  ill.  illustrated;  Ex.  example. 

Position  of  chords i  317,  p.  25;  ill.  p.  77,  Ex.  9i. 

Potpourri §  689,  p.  .H. 

Preparation, §  469,  p.  36. 

Prime, §  207,  p.  20;  ill.  p.  75,  Ex.  82. 

Progression, §  421,  p.  33. 

Progression  of  chord  of  the  9th, §  498,  p.  38;  ill.  p.  90,  Ex.  145  and  146. 

Progression  of  diminished  7tli, §  491,  p.  38;  ill.  p.  88,  Ex.  139  to  144. 

Progression  of  dominant,  7th, §  470,  p.  36;  ill.  p.  86,  Ex.  131. 

Progression  of  the  American  6th   §  .')1U  p.  39;  ill.  pp.  95,  96,  and  97,  Ex.  163  and  186 
Progression  of  the  augmented  chord,  ...§  ;>oo,  p.  38;  ill.  p.  92.  Ex.  147  to  150.  . 

Progression  of  tne  French  6th §  505,  p.  39;  ill.  p.  93,  Ex.  152  to  155. 

Progression  of  the  German  6th §  508.  p.  39;  ill.  p.  94,  Ex.  156  to  159. 

Progression  of  the  Italian  6th §  502.  p.  38;  ill.  p.  93,  Ex.  151. 

Pulae §  40,  p.  9. 

Quadrille, §  696,  p.  55. 

Quadruple  measure, §  28,  p.  8;  ill.  p.  62,  Ex.  1. 

Quickstep 8  687,  p.  54. 

Quartet §  729,  p.  58. 

Quintet, §  730,  p.  58. 

R. 

Recitative, §  70.5,  p.  55. 

Redowa, §  683,  p.  53. 

Reel §  695,  p.  5.5. 

Relation  of  keys, §  523,  p.  40. 

Rondo-forms, §  657,  p.  51;  ill.  p.  145  and  151  inclusive. 

Repeat §  81,  p.  11;  ill.  p.  64,  Ex.  2-.:. 

Repose §  594,  p.  46;  ill.  p.  i;u.  Ex.  495. 

Respoii.se §  643,  p.  50;  ill.  p.  143.  Ex.  529. 

Rests §  53,  p.  10;  ill.  p.  63.  Ex.  15. 

Rules  for  beginners §  579,  pr  44. 

S. 

Safe  rules  for  beginners, §  579,  p.  44. 

Scales  illustrated pages  65  and  73  inclusive. 

Scena §  698.  p.  .55. 

Schottische, §  685,  p.  54. 

Score, §  79.  p.  11. 

Second  inversion  of  triad §  443,  p.  34;  ill.  p.  84,  Ex.  126  to  129. 

Secular  vocal  forms §  716.  p.  57. 

Sentence §  710,  p.  56. 

Semi-staccato §  183,  p.  18. 

Sequence, §  411,  p.  31;  ill.  p.  105.  Ex.  188  and  189. 

Sequences,  formation  of, §  561,  p.  43;  ill.  p.  105,  Ex.  188  and  189. 

Sextuple  measure §  29,  p.  8;  ill.  p.  62,  Ex.  8. 

Sforzando, §  180,  p.  18;  ill.  p.  74,  Ex.  81. 

Sharps §96,  p.  12. 

Signature, §  108,  p.  13;  ill.  p.  71,  Ex.  70. 

Slur, §50.  p.  9;  ill.  p.  62,  Ex.  13. 

Solfeggio §  719.  p.  57. 

Sonata §  670.  p.  52;  ill.  p.  151  and  1*2. 

Sonatina, §  669,  p.  52;  ill.  p.  ijl. 


1G8 


EDWIN  A.  WALES        index. 


Abbreviations:  £  queetion;  'p.  page;  ill.  illustrated;  Ex.  example. 

Song, §  718,  p.  57. 

Soiig-fonn,  applied, §  627,  p.  49;  ill.  p.  141. 

Song-form  of  one  period, §  620,  p.  48;  ill.  p.  139,  Ex.  519. 

Song-iorm  of  three  periods §  624,  p.  48. 

Song-form  of  two  periods §  62i!,  p.  48;  ill.  p.  139,  Ex.  520. 

Soprauo, §  62,  p.  10. 

Sound §  1,  p.  7. 

Staccato, §  182,  p.  is. 

Staff, §  10,  p.  7;  ill.  p.  61,  Ex.  1. 

Steps, §  206,  p.  20. 

Stretto §  644,  p.  00;  m.  p.  143,  Ex.530. 

Sub-dominant. ^  277,  p.  23. 

Sub-mediaJit, §  279,  p.  23. 

Sub-tonic, §  28o,  p.  23. 

Suite §  671,  p.  5!?;  ill.  p.  152  and  153 

Super-tonic, §  275,  p.  23. 

Su.spended  cadence, §  551,  p.  42;  ill.  p.  103,  Ex.  186. 

Suspen.sion, §  404,  p.  31;  ill.  p.  98,  Ex.  167  to  178, 

Suspensions,  object  of, §  529,  p.  41. 

Swell, §  179,  p.  18;  ill.  p.  74,  Ex.  80. 

Symphony, §  675,  p.  53;  ill.  p.  157  and  1.58. 

Syncopation, §  91,  p.  12;  ill.  p.  85,  Ex.  30,  also  p,  102,1 

Ex.  180.  / 

T. 

Tasto  Solo,  and  T.  S §  333,  p.  26. 

Tenor, §  62,  p.  10. 

Terzetto, §  728,  p.  58. 

Thesis, §  617,  p.  48;  ill.  p.  135,  Ex.  497 

Thorough  Base §  184,  p.  19;  ill.  pp.  75  to  82. 

Tie, §  51,  p.  10;  ill.  p.  62,  Ex.  14. 

Tierce  di  Picardl, §  528,  p.  40. 

Tone §  2,  p.  7. 

Tone-chain §  583,  p.  46;  ill.  p.  134,  Ex.  493. 

Tonic §  274,  p.  23. 

Transformation  of  designs, §  598,  p.  47 ;  ill.  p.  136  to  139. 

lYiad, I  282,  p.  24;  111.  p.  77,  Ex.  95. 

Triads  figured §  329,  p.  26;  ill.  p.  78,  Ex.  100. 

Triads,  inversions  of,  .  §  338,  p.  27;  ill.  p.  78,  Ex.  101. 

Triads,  positions  of, §  317,  318,  319.  p.  25;  ill.  p.  VV,  Ex.  0tt 

Trio, S  629,  p.  49;  also  727,  58. 

Triplets §  89,  p.  12;  Ul.  p.  64,  Ex.  28. 

Triple  measure, §  27,  p.  8;  ill.  p.  61,  Ex.  6. 

U. 

Unison §85,  p.  11;  ill.  p.  64,  Ex.  2* 

V. 

Vocalise, §  720,  p.  57. 

W. 
(altZ, , . §  686,  p.  64 


168 


Song, . 

Soiig-l 

Song-f 

Soug-i' 

Soug-fi 

Sopran 

Sound, 

Staccai 

Staff, . . 

Steps, . 

Stretto 

Sub-doi 

Sub-me 

Sub-ton 

Suite, . . 

Super-t' 

Suspent 

Suspen.' 

Suspens 

Swell,.. 

Sympho 

Syncopa 


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